A finely crafted exercise in country-folk classicism: strong songs, given room to breathe, delivered with intense economy. [Feb 2015, p.78]

Some of the guest vocalists on this LP approach this level of militancy but, in places Black To The future is also poppier and dancefloor friendly than anything Hutchinson has ever released. [Jun 2021, p.30]

Calexico are back, but this time they’re travelling all over the map. Carried to Dust is a quietly persuasive record.

Their playing and singing has laser-sharp focus, while still allowing the songs and their rich, raw melodies the space to breathe. [May 2018, p.35]

Under Tweedy's almost imperceptible guidance, Shelley has learned to trust her contradictory impulses. Her shyness is amplified, the words more direct.[Jun 2017, p.32]

Drowsily beautiful. [Oct 2010, p.94]

It mines familiar-enough influences. ... There's a sonic freshness, though, abetted by wizardy analogue production tricks of Daptone head engineer Wayne Gordon. [Jul 2018, p.34]

Impressively, Gardner's instrumnetals such as "Grey Lanes" and "All Over" show how he can effectively summon up an exquisite nostalgia for an invented '60s. [Jun 2015, p.76]

As good a record, in fact, as anything this gifted polymath has ever released. [Feb 2004, p.82]

The results are charming, melancholy and achingly beautiful. [Jul 2012, p.84]

Their debut is squeaky-door dub that offers unexpectedly plentiful tunes. [Sep 2016, p.73]

Doseone's keen ear for a pop melody and hip-hop's punch keep him on course. [Aug 2012, p.71]

Bad Magic is gloriously genre-defying. [Sep 2015, p.78]

There's an earworm-like lure in every track. [Aug 2011, p.98]

Alongside the sexually explicit likes of "Pull My Hair" and "Wait" sit conscious soul and creamy R&B. [Nov 2005, p.94]

It all suggests a sea change in attitude. [Sep 2005, p.114]

Their best, boldest, most unashamedly poptastic album yet. [Dec 2018, p.28]

The live setting and frontman Joe Talbot's inter-song exhortations heighten the feeling of being sucked into communal catharsis. [Jan 2020, p.26]

The result is vast and apocalyptic. [Dec 2015, p.81]

A moody, giddy, charming album, as ragged and dynamic as those the band were making half a lifetime ago. [Oct 2006, p.100]

They're still loud and angry - exploring themes around national identity, solidarity and challenging political establishments - but there is greater musical depth and breadth. [May 2025, p.32]

His guttural, rat-tat flow is raw and unleavened, but it's the way he uses it--in flights of fancy and feats of mischief--that's truly the nub of his appeal. [Dec 2013, p.66]

An intoxicating blend of surf-rock guitar and the blusterous post-rock drama of forefathers such as Lift To Experience; a bewitching blend that makes death's ominous presence feel that much closer. [Mar 2020, p.25]

Not so much an electronic supergroup, more a retro-futurist sonic museum. It uses Benge's collection of antique analogue synthesisers to create some pulsating dance music. [Apr 2020, p.37]

If anything, Damage And Joy underscores the Mary Chain's strengths. [Apr 2017, p.36]

The music reflects this stark, witty chronicle of precarious modern living with a queasy tableau of churning beats, one minute harsh and industrial, the next lush and dreamy. [Nov 2023, p.25]

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]

Clear Heart Full Eyes is a low-key triumph, containing some of the most emotionally satisfying work Finn has yet produced. [Feb 2012, p.82]