Held together by a unifying drone, End Of The Day is a welcome if unusual addition to Barnett's catalogue. [Oct 2023, p.25]

They sacrifice a bit of their identity in the trade-off [to be more pop.][Feb 2013, p.80]

It all seems to emerge from some vast, long-abandoned cistern, though the astonishing degree of detail contained in "Awakening" and "Vigil" rewards listeners willing to be fully immersed. [Review of the Year 2023, p.32]

Opener “Globe” is a bubblegum headrush: giddy, kinetic, punctuated by smile-inducing cries of “you got this”; “Champagne”, with its shared bassline, a bittersweet mirror image. The skittish “TV Flicker”, inspired by a sudden family bereavement, breaks the mould somewhat, adding range to the mix. [Oct 2022, p.33]

These dead-earnest takes are suffused with existential melancholy, as the group's feathery vocals bring uplift to the heavy emotional burden of the songs. [Mar 2014, p.71]

The net result is unexpectedly charming. [Aug 2020, p.30]

The sound of two talented men messing around and letting off steam in a studio. Much livelier than Tunng. [Jul 2016, p.81]

The extrovert quintet hold their nerve and deliver another wild pop ride. [Dec 2025, p.31]

Lattimore's harp is beautifully clean, and Barwick's vocals less affected than usual. [Jan 2026, p.27]

Nothing here matches the astonishing brutalist bubblegum of her 2018 debut, but on tracks like the soaring “Love Me Off Earth” you can still feel the unearthly radiance of this vanished star. [Dec 2024, p.39]

It pitches up somewhere between devotional music, modern classical and shoegaze and plays as a set piece, though the powerful ebb and flow of "Skel" stands out. [Nov 2023, p.32]

The strongest songs on Dungeness have Trembling Bells playing at a fierce peak. ... Sometimes, though, things don't quite cohere. [May 2018, p.34]

Against hard-edged rhythms – Danielle Haim’s clattering drumming enlivens “These Kids We Knew” – and Solomon’s wordless reveries, Rostam sings in a creamy tenor tailormade for sharing the intimate feelings of his lyrics. [Jul 2021, p.33]

The follow-up, recorded in a fully equipped studio with backing band, retains an acoustic ethic, but is more richly textured. [Jul 2012, p.84]

His playing can be free and fiery but it's also deeply soulful and sometimes almost aggressively melodic. [Mar 2023, p.29]

It's gorgeously detailed stuff, though often most compelling when those details end up fogged-out and hazy. [Aug 2017, p.28]

Immersive and claustrophobic, Ruby Red seems designed for solitary listening under headphones. [Aug 2013, p.72]

This new emphasis on alt.rock songcraft can leave frontwoman Arrow de Wilde sounding little constrained, which may be why she sounds so thrilled to unleash her inner Iggy on "Toy teenager" and "Rich Taste." [Nov 2019, p.33]

Dour, yes, but possessed of a regal sort of beauty. [Nov 2016, p.26]

The good news is that their sound has not dated, nor has the vision dimmed. [Feb 2026, p.35]

A serrated synthesis of goth, industrial and synth-pop conducted at a histrionic intensity, 13” Frank Beltrame Italian Stiletto… sometimes feels deliberately difficult. But it is also inspired enough to be worth the effort. [Dec 2024, p.39]

The result is akin to Super Furry Animals making progressive post-punk. The sense of charm and idiosyncrasy is plentiful across the rest of the album too. [Mar 2020, p.29]

Succeeds in painting atmospheric images, with elliptical poetry set against dreamy FX-laden guitars, twinkly pianos and jagged beats. [Mar 2020, p.30]

The fourth album from Speedy Ortiz crackles with typically furious energy - but there's a deftness which makes the band's polemics as fun to listen to as they are powerful. [Nov 2023, p.33]

It may just be a hobby or distraction, but on this showing they've got serious legs. [Jan 2013, p.80]

Left to his own devices, Byrne comes home to a screwball hymnal mode that, for all the lyrical left turns, can feel a little too predictable. [Apr 2018, p.29]

Musically, it is business as usual--out-on-the-floor, stack-heeled indie stompers all the way--but if 2010's stark Losing Sleep was a little on the abrupt side, this is more concise still. [Apr 2013, p.75]

Once you’ve heard Fleetwood Mac or Rumours, Buckingham Nicks feels a little threadbare, like sketches for the main event – and that’s fine, because before fate or destiny intervened in the form of Mick Fleetwood in November 1974, this captured the duo at their best. Taken on its own, Buckingham Nicks is a nifty collection of floral folk cuts and quicksilver instrumentals, with one foot in Laurel Canyon, the other in Nashville, that show Buckingham and Nicks’ songwriting promise. [Oct 2025, p.44]