These 10 songs are intimate, graceful and surprisingly hooky. [Oct 2018, p.24]

Shame about the occasional guest vocals, which veer a touch drab compared to their glittering backdrops. [Jul 2016, p.78]

Signals a striking reawakening for a too often overlooked talent. [May 2003, p.96]

This is a less than ideal introduction to the oeuvre of the usually intriguing 'Dolls. [July 2008, p.93]

Her own songs are more intriguing, however; poetic mediations on love and its destructive powers, sung in a tremulous but intense voice. [Feb 2009, p.76]

[The songs] shows, ultimately, the heights to which Jaffe can rise with time. [Jun 2012, p.158]

It's a tart set but not a sour one - concerns are laid bare and life lessons shared, with whip-smart confidence. [Apr 2022, p.25]

In Dreams picks up the thread they’ve been weaving since their 2018 comeback, not too different from their ’90s form: shimmering, chipped guitars; resigned, mumbling vocals; a vague sense of astral longing. [Dec 2024, p.35]

An uneven mix. [Feb 2006, p.70]

Here, we find the mufti-instrumentalist in his natural habitat, leading a band in seven pieces that blend Eastern-tinged melody, courtly medieval music and modern composition. [Mar 2012, p.90]

Eighteen Hours of Static is a brutish rocker with its eyes in the gutter, reminiscent of The Jesus Lizard and Minor Threat in its scabrous mid-pace grind and occasional lurch up to hardcore speed. [Feb 2014, p.71]

Kykeon combines that knowledge [of Greek folk music] with freewheeling homeland psych. [Jan 2015, p.76]

For much of the record the Djangos are the same sweet-toothed bunch. [Feb 2018, p.24]

Erratic but still occasionally sublime. [Jun 2020, p.37]

Alex Cameron returns to the more overtly acerbic studies in modern male toxicity that established the Australian singer-songwriter as a suave provocateur. [Apr 2022, p.25]

Here they come dressed in post-punk garb. The arena singalong "Wild Rut" mutates into a piece of motorik new wave; the toytown confections of "Leave You On A High" and "Loyal" both come wreathed in ice gothic synths and Peter Hook-style bass plunking. [Jun 2026, p.33]

If the initial effect is underwhelming, after several plays you find the tunes have buried themselves in your head and layers of intriguing subtlety are revealed. [Aug 2009, p.98]

They're the true inheritors of the psychic disconnect and crude abstraction that marks out those early Royal Trux albums: less Stones, more stoned. [Jan 2014, p.75]

The result is neither an especially loud or revelatory one. [Sep 2018, p.32]

The Bees' oddball genre-hopping is still evident. [Sep 2018, p.24]

The album is a deeply textural listen, led by Leaneagh’s impressive voice. [Jul 2022, p.31]

There are flashes of grouchy greatness from all three--but only flashes. [Jul 2010, p.115]

Their second album pulls their punched-up, modernist synth pop into tighter focus while softening some of its sharper corners. [May 2012, p.83]

Rich and evocative, The Race For Space is the sound of two young men gazing heavenwards and dreaming. [Mar 2015, p.80]

Grace Potter returns to her stylistic comfort zone with Daylight. [Jan 2020, p.28]

Haines... is shaping up as the most impressive writer of the current wave of Canadian indie. [Jul 2007, p.103]

It's fiercer and denser than their 2009 debut. [Nov 2011, p.107]

It's sleek, goth-leaning alt.pop, but ILYBICD's music ultimately leaves less of an impression than their band name. [May 2006, p.109]