Roots For Ruin burns with their reignited love of Fugazi, Pixies and Pavement. [Oct 2010, p.98]

Inventive, playful and utterly engrossing, Celebration, Florida has much to revel in. [Jun 2011, p.92]

This is the sound of a valuable, extravagantly vital band in full swing. [Jun 2011, p.91]

The residency produces inspired results. [Apr 2012, p.87]

Ultimately Bailiff sounds too much in thrall to her shoegazing peers. [Dec 2012, p.69]

Achieves a drifting, beautiful desolation that many of their peers lack. [Sep 2017, p.24]

He injects these economic songs with a modish sense of sophistication. [Nov 2017, p.35]

Emotional Mugger is as funky as it is twisted--a heavy rock record that truly groves in a way that heavy rock rarely does any more. [Feb 2016, p.85]

The music is accordingly spectral, with sparse piano teasing its way into break-out crescendos of strings, French horns and a children's choir. [Dec 2009, p. 87]

Laughing in the face of mortality is a preoccupation, from the honky-tonk close "When I Get To Heaven" and "God Only Knows", but Prine's playful wit is best captured in "Egg & Daughter Nite, London Lincoln Nebraska, 1967 (Crazy Bone)." [May 2018, p.33]

The Calling finds her in fine voice, nestling somewhere between Shawn Colvin and Helen Reddy. [Apr 2007, p.116]

Abstract, but curiously engaging. [Mar 2011, p.83]

A continuation of a grand tradition rather than a feeble descendant, Jones' custom tunings strike sourly sweet notes, occasionally--as on the title track--touching on raga modes. [Oct 2011, p.89]

He drifts boringly into pure pastiche on "Crystal Caverns 1991," but what keeps the rest fresh is the pace. [Jun 2012, p.77]

The venom and rage of the Jim Jones live experience is captured more effectively on this third album than its predecessors, but there;s also greater depth to the playing and writing. [Nov 2012, p.76]

Gentle pedal-steel weepies and shimmering, folk-rock beauty are testament to her new-found freedom. [Sep 2013, p.92]

It's an insinuating set, bordering on morose in places. [Aug 2013, p.74]

When Sexsmith does finally pull a heartbreaker out of the bag, it's a doozy. [Apr 2015, p.83]

Their latest leans Southern Gothic, in songs about death, drink and doing the hard thing. [Oct 2015, p.78]

It's an agreeably raw listen. [Mar 2016, p.80]

An unabashed old-school West Coast rock'n'roll record. [Dec 2019, p.29]

Warm, fuzzy and delicious. [May 2023, p.31]

Stills is dynamic vocally and instrumentally throughout, but the underutilised talent pool makes this document of what was incongruously dubbed The Memphis Horns Tour and odd curio that exemplifies the wigged-out extravagance of the era. [Jun 2023, p.49]

As ever, OCMS manage the deft balance of embracing tradition without lapsing into curatorial piousness or zany pastiche. [Nov 2023, p.31]

Cobb recorded the record at Macon's legendary Capricorn Sound with Georgian musicians, and it sounds it. [Oct 2023, p.27]

His voice might not be as powerful as it was – “This Ain’t Rock And Roll” sees him push it to the throaty limit –but it still has range, control and versatility, while his phrasing is consistently imaginative. [May 2024, p.30]

The real keeper here the brooding, seven-minute "The Old Homestead", as cryptic as anything he'd written since "the Last Trip To Tulsa". [Mar 2025, p.53]

Another satisfyingly robust effort. [Review of the Year 2025, p.23]