The album is tethered by Roberts' spoken-word poetry. [Oct 2023, p.33]

Its watery, dreamlike soundscapes are totally immersive on one of those records that - temporarily at least - can make the cares of the world seem to melt away. [Mar 2025, p.29]

While the blues, folk and country moments are excellent, the most striking offering on Saving Grace is its most primal, namely their savage version of Low's "Everybody's SOng". .... It's hard to see a limit to their powers, such is their skill with both sweet and the sour, the delicate and the bruising. [Nov 2025, p.22]

Two albums on and they're still assembling a uniquely imaginative mythology. [Jul 2011, p.82]

Tell Tale Signs is awash with evidence of his staggering mercuriality, his evident determination even in the studio to repeat himself as little as possible, re-takes not merely the occasion for refinement, the honing of a song into static finality, but serial re-imaginings.

Lost In The Dream is calmer and more confident than previous efforts, songs stretching out beyond the six-minute mark if the feeling is right. [Apr 2014, p.83]

The band's pivot away from fuzzed-out jangle pop to something closer to shoegaze adds to the dreamy feel. [Nov 2022, p.25]

Pleasingly grubby debut LP. [May 2021, p.25]

An abrasive but soulful post-punk. [Jul 22017, p.23]

Gold Record is very assured, marking a refinement of the Callahan sound. [Oct 2020, p.28]

The arrangements are bigger, the language more dense, the symbolism darker. [May 2013, p.72]

He sings plenty, with engaging huskiness, while leading his band down ever more inventive tangents. [Nov 2014, p.76]

While Teardo's shines, balancing a tendency toward simple melodic cells with sweeping trawls of tonality, Bargeld's dry humour still comes through. [Jun 2016, p.81]

The set follows the progression of Mersey music from Yachts and Big In Japan through to The La's, who re-engaged with the Cavern sound and signalled where Britpop would soon be heading. [Mar 2018, p.47]

The scatterings of Muscle Shoals-y horns aren't particularly muscular, but they don't need to be to let the class of these '70s-style soul-pop songs glow. [Feb 2020, p.23]

Regular frontwoman Ninja remains a ferocious force of nature on several tracks. ... Consistently great, routinely underrated. [Mar 2023, p.26]

Resounds with the liberated feeling of an artist who not only has something to say but an audience to say it to. [May 2024, p.35]

The result is a highly engaging, emotionally rich debut, where defiant working-class pride anthems like “Dig!” jostle for space alongside the soaring urban blues confessional “This Here Ain’t Water” and the joyously puerile playground chant “Shithouse”. [Jun 2024, p.29]

The final 25-minute-long “Fünf” is most thrilling, revealing what “Animal Waves” could have been had they not been drifting in different directions in the studio. [Dec 2024, p.47]

C Duncan's fifth album, like Ricard Hawley's catalogue, is imbued with an old-fashioned, Technicolor warmth. [Feb 2025, p.34]

There are a number of lovely themes that repeat through “Unraveling In Your Hands”, though its central phase – an unrelenting, hypnotic stream of shivering strings, tiny flecks of light dazzling as you plunge deep into the repetition, while following a snaky melody through the thickets – is certainly unforgettable. [Jan 2025, p.33]

Live Forever crackles with outrage and compassion. [Jun 2026, p.32]

This is acoustic roots music at its most glorious, and Giddens is fast becoming the genre's brightest star in the firmament. [Jun 2019, p.33]

Will prove a delight to punters pursuing a Best Madchester Compilation Ever! as long as they forget The Stone Roses ever existed, and assume Morrissey came from another planet. [May 2002, p.116]

It's typical of Lamr's artistry that even a comp of offcuts comes formatted and conceptualised. [Jun 2016, p.75]

This record’s full engagement with its modern moment refuses to engage on that moment’s terms, instead offering its own blissful, unified escape.

This Zen archer lets fly with his second straight bulls-eye. [Sep 2015, p.79]

Moonchild Sanelly guest on “Streets Is Calling”, woozy dub soundscapes accompany “The Traveller”, Afrobeat and Afro-Cuban rhythms collide on “Shaking Body”, and the sense of jazz as a hybrid, liberating form is unselfconsciously embraced. [Oct 2024, p.33]