There is a minimalist anti-folk vibe to Dermody's songs. [Nov 2016, p.37]

Even at its most languid, this album retains a faintly manic, frazzled quality that prevents it from descending too far into retro pastiche. [Dec 2017, 9.28]

Spread over two discs, it can get a little samey, but "Here Comes Revenge" and "Moth Into Flame" have plenty of bounce. [Jan 2017, p.27]

There are no giant leaps here, it’s very much Interpol as you know them, but there’s plenty of micro evolutions, impressive production and subtle tweaks to make this a welcome addition to their catalogue. [Aug 2022, p.28]

The album flags a bit in the middle but maintains enough propulsion to easily glide past those saggy moments. [Dec 2023, p.34]

Halo's assertive pieces, with Oliver Coates on cello, heighten the experience. [Jun 2020, p.29]

A slight problem is that the London quintet are third-generation mimics: "You Are Not An Island" could be Broadcast, and "Magician's Success," complete with cartoon effects, occupies Stereolab's former territory. [Jul 2019, p.36]

Ghostly, atmospheric, intense, Colt is an impressive, if somewhat remote, debut. [Jul 2018, p.37]

Real-life challenges also inform fromtman John Pelant's plaintive delivery of lyrics such as "Hold On To Tonight", mourning late loved ones, and "Ring My Bell"'s plea for emotional connection. [Sep 2025, p.37]

A few tracks fell like sketchy fragments, but the best have real grandeur and ambition. [Feb 2023, p.28]

These seven piano/voice tracks, recorded and mixed live to tape by Tucker Martine, are immediately seductive, balancing spare, bittersweet melodies and billowing space. [Oct 2016, p.26]

Lovely stuff. [Dec 2019, p.29]

A better-than-respectable restatement of many of their original virtues, the primary being the flair for sunny, Hollies-like melodicism. [Apr 2022, p.25]

Close to monomaniacal in their passions--weed, Satan, vintage British horror--Time To Die nonetheless introduces a gnarly edge to their downturned churn. [Nov 2014, p.73]

Devil Music's relentless velocity and heaps of fuzz and reverb are easy to savour even if it could use more songs as strong as "Lion's Den" and Patterns." [Jan 2017, p.27]

Fearless seldom surprises--he's been doing this kind of thing long enough to know what works--but is quality is consistent. [Dec 2019, p.26]

Something more intimate and traditionally crafted, exploring the highs and lows of human interaction. [Feb 2015, p.77]

It successfully pins down black American sources, though it's occasionally marred by dated production. [Mar 2002, p.97]

Luke Haines' trilogy of rock follies concludes with this perverse mediation on New York punk. [Jun 2014, p.78]

Baby Man is an impressive display of unfettered emotionality, but you may miss Johnson's usual luminous band arrangements and bass-driven grooves. [Oct 2025, p.27]

Kath pillages heartily from Belgian new beat, braindance, electroclash and EDM cheese to forge brutally effective industrial lullabies. [Oct 2016, p.26]

The high concept here is a paean to the ancient Greeks, inspired by the derring-do of gods and heroes: "Diana By My Side" and the breakbeaty "Mars" are suitably Elysian. [Jan 2017, p.28]

Comes closer to capturing their arse-shaking live performances than any of its predecessors. [Jul 2006, p.104]

What are we left with? A handful of wonderful "new" songs, some interesting also-rans and alternative choices, and the sobering realisation an entirely different double album from The River: a work not quite of equal quality, but still of a remarkable standard. [Jan 2016, p.86]

Bastards sounds like a new Bjork album rather than a cursory add-on. [Jan 2013, p.71]

Ultimately, what CMAT has done with CrazyMad, For Me is create a new pop music, centered around melody, heartache, and resolve, and filled with more than a dash of gallows humor to boot.

Cumulatively Morning Phase can feel too consistent in mood and pace. [Mar 2014, p.65]

Its glowering landscape is reminiscent of Actress' Ghettoville, but without a similar supporting mythology Pearson Sound can feel rather cold. [Apr 2015, p.81]