The band are now reactivated for their seventh, and pick up pretty much where they left off, the strum and twang now augmented by strings, but with the same determinedly old-school indie happysad heart. [Jul 2009, p.81]

These stark, largely unadorned folk-country songs are given added edge by Irwin's faintly metallic voice, with delicate shadings from the like of producer and multi-instrumental wizz Tara Jane O'Neil and pedal steeler Marc Orleans. [Dec 2012, p.72]

Surreal humour, suave style and deluxe Europop make for a potent comeback. [Nov 2016, p.40]

If only Thomas' smart-ass, sing-song drawl was as appealing as his songs. [Feb 2017, p.38]

A more concise affair [than II], with only one of its six tracks over eight minutes. It's also more laid-back. [Jan 2021, p.28]

A sweeter collection of songs this year you'll be hard pushed to find. [Oct 2006, p.110]

With its fidgety electronica and shredded rave, 11th album Parastrophies might've raised eyebrows in 1996, but today there are few Spotify playlists that would unironically accommodate squiggly chip-tunes. [Mar 2012, p.92]

They sound refreshed again here, even if their classy, Music From Big Pink-inspired roots-rock has changed little from the default settings established by their brilliant debut August And Everything After 20 years ago. [Oct 2014, p.69]

It's a delicate balance, but the obvious sincerity of Campbell's performance overcomes any qualms about what could be an exploitative concept. [Sep 2011, p.90]

As his vocals wobble theatrically over synths, seasick sequencers and squelchy early-'80s sonics, Crush's component parts conspire to pack a considerable emotional punch. [Oct 2010, p.85]

Some odd production choices slightly blunt the impact of straighter rockers like "Piss Pisstoferson," but "Onions Make The Milk Taste Bad" confirms their skill for combining the heavy, the catchy and deliriously strange. [Nov 2014, p.77]

A provocative and inventive second album. [Sep 2009, p.96]

It's halfway between Kim Wilde and truly wild, and, as such, hugely entertaining. [Oct 2010, p.97]

The signature combination of upbeat music and somewhat gruesome lyrical themes works so well for Shovels & Rope that a few leaks spring when they commit themselves to a dive to the depths. [Oct 2014, p.75]

A modest triumph. [Aug 2019, p.28]

Lord Huron's fifth album lives up to its title, cranking up the celestial jukebox and filling the room with a breezy, blithe spirit. [Aug 2025, p.33]

With her voice repaired to the mesmersing breaking point of There's Always Glimmer, the closeness of her almost-whisper is startling on "Everybody Around Me Dancing" and "Moon Not Mine", although it's her light-touch production - vaguely New Age and recalling Cassandra Jenkins - that truly elevates this intimate folk record. [May 2026, p.33]

A work of rejuvenating power on which Weller and his long-serving band attain a new sense of purpose and focus. [Nov 2005, p.94]

Undercurrent is an enthralling journey from source to mouth. [Aug 2016, p.72]

Epic eight-minute closer "Give Me Your Love" produced by Hot Chip's Al Doyle and Joe Goddard, will keep you dancing until dawn. [Sep 2023, p.27]

The territory--dark skies, open roads and femme fatales--gives a gothic edge to even the most tender sentiment. [Aug 2005, p.98]

Just as it's a struggle to name parallels beyond Marvin Gaye and Stevie Wonder, it's equallly difficult to imagine why anybody would want to. [Jun 2018, p.24]

Darnielle dresses songs of romance, heartache, and travel in elegant leaps of language. [Mar 2008, p.96]

The most striking thing about Citizen Zombie is how young and naive and happy it all sounds. [Mar 2015, p.74]

At first it's too Linda Perry; soft-rock with feminist principles. [Mar 2006, p.96]

For a while, it seemed like they'd never leave the hipster ghetto, but this is a convincing exit. [Oct 2011, p.90]

Grohl claims the title track set the tone for this self-produced set, which squares with its adrenalised, garage-rock push, though not its cheeky nods to Quo and ZZ Top. Variety is the byword. [Jun 2026, p.29]

Swift's stock-in-trade remains droll, gently roistering piano songs, mostly indebted to Harry Nilsson. [May 2009, p.97]