It's a record that goes a long way toward breathing new life into the busted flush of English indie with a romantic Britpop sound that stands comparisons with The Smiths, The La's and New Order. But in order to complete that leap--and make a record that equals the impact of their first--the lead guitarist needs to give the songwriter a good, hard kick up the arse. [Jul 2011, p.78]

His avuncular, keep-it-moving approach prevents things from getting too deep. [Apr 2017, p.39]

It's impressive the way the trio can seamlessly slip back into the Dead-like country-psych sound that defined the best of their '80s/'90s output. [Apr 2019, p.32]

Why Me? Why Not. ticks a number of boxes for his fanbase. [Nov 2019, p.25]

Pete & The Pirates have a handful of great pop songs to balance out the weight of their obvious influences. [Mar 2008, p.97]

The pinnacle is the tidal rhythms of 'Sickness, Bury,' but there's plenty more here to admire and absorb. [Nov 2008, p.98]

Pressure & Time is short enough to fit on two sides of vinyl and, quaintly, leaves you wanting much more. [Aug 2011, p.89]

Pastoral and hallucinatory is how Sioux plays it here. [Jun 2012, p.83]

Theirs is a likably punked-up take on the noise blizzard thing. [Feb 2013, p.74]

Los Lobos play their myriad (and rather dazzlingly) legacies straight, swerving masterfully from irrepressible dance-floor faves to Spanish styles to tearjerker folk-rock ballads. [Nov 2013, p.74]

The result is alternatively maddening and satisfying. [Apr 2014, p.74]

A bravura production job, assisted by The Haxan Cloak, gives What's Between arcane depths. [Jul 2014, p.83]

While at times her guitar rages filthily. She branched out lyrically too. [Oct 2014, p.79]

It's a sprawling affair. [Oct 2016, p.26]

Not quite essential, but a neat genre exercise. [Dec 2016, p.30]

Syrupy piano ballads remain a blind spot for Morris, who seems to be soundtracking ab imaginary Richard Curtis comedy n the sappy, soppy title track. But "rose Garden" is great, it's whopping Kate Bush-isms spliced with staccato mechanised beats. [Mar 2017, p.31]

In Keeping it simple, Frawley speaks volumes to the gloriously messy stew of the human psyche. [Mar 2019, p.27]

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]

With her voice sounding more like a cross between Nico and Patti Smith than ever, she laments division and bigotry on songs such as "Queasy" and "Overblown," while musically she spans pedal-steel-laden country rock, punk menace and string-driven Velvets drones. [Oct 2021, p.35]

Her 10th album steps back from the literary conceits and high concepts of her last couple of albums and finds humility and grace amid the "permanent emergency" of the present. [Jun 2025, p.41]

The complete One To One concerts and Live Jam 2 are welcome additions to the brief Lennon live canon, but while Studio Jam is fun, there’s only so much that can be gained from listening to the band running through rock’n’roll classics, however good they are. Of more interest is Home Jam: scraps of home recordings, phone calls and hyperactive Lennon chat. [Nov 2025, p.48]

They've regrouped impressively here. [Jul 2026, p.26]

A sometimes mystifying but often inspired work. [May 2018, p.22]

A giddy psychedelic opera performed with Wayne Coyne-levels of beaming optimism. [Mar 2020, p.27]

For the most part, Milosh goes for mood over hooks, but the sultry "Helpless" seductively sports both. [Feb 2021, p.32]

Bang Zoom Crazy... Hello could very well be the band's most consistently thrilling long-player since the Carter administration. [May 2016, p.70]

The record to funk up your festive period. [Jan 2016, p.77]

The production lacks [Timbaland's] invention and intricacy. [Aug 2005, p.87]