Some of Wold's tracks here with a full band don't descend into pub-blues mediocrity. [Apr 2015, p.83]

They've drawn their inspiration from a wider constituency. [Oct 2020, p.25]

The bleak piano ballad "Hello I'm Right Here," the suicidal "Hold My breath Until I Die" and the slow-burning synth-pop of "We Don't Have Fun When We're Together Anymore" all find curious joy in pain. [Nov 2019, p.33]

Languid without being lazy. [Mar 2005, p.93]

This follow-up sees their experimental instincts tempered rather than tamed, with more focus on song structure and melody, and Susman's expressive vocals softened. [Apr 2026, p.34]

This is more of the same bucolic electronica and smudgy rave that Fake does so well. [Mar 2026, p.32]

Even if the orchestrations on their first album together are more sentimental than cinematic, father and son harmonise gloriously, finding new emotions within 20th-century standards. [Review of the Year 2024, p.31]

Bitter but sweet enough. [Dec 2013, p.71]

Hymns sounds refreshed. [Feb 2016, p.73]

Laibach's most pop album to date - five tracks are co-produced by Richard X - and at least as curious and contrary as any of its predecessors. [May 2026, p.32]

It's undeniably lovely stuff, with just enough bite to keep you from napping. [Jun 2026, p.35]

Cobb recorded the record at Macon's legendary Capricorn Sound with Georgian musicians, and it sounds it. [Oct 2023, p.27]

Leithauser has worked solidly on his strengths - muscular and expansive, pop-rock songs with standout lyrics - to distinctive effect. [Apr 2025, p.33]

The excellent military beat of "The Aphorist" and almost genteel "Worm In Heaven" are fine point of entry, even if the cacophonous likes of "Michigan Hammers," "Modern Business Hymns" and "I Am You Now" are more typical representations of the band's disorienting sound. [Aug 2020, p.36]

The recordings capture the band at a satisfyingly burly midpoint between Lemmy's punchiest moments on Hawkwind's Warrior on The Edge Of Time and Motörhead's eponymous debut the following year. [Sep 2025, p.46]

The DJ, producer and singer-songwriter's solo third suggests there's no shame in sticking to your retro-futurist guns, as long as you fire off the odd unexpected volley. [Jun 2013, p.76]

Even on stopgap releases like this relatively repetitive mini-album, DeMarco's lysergic balladry and hangdog puppy love have an unbeatable effortlessness. [Sep 2015, p.72]

They display an exuberant charm that's trashy and infectious. [Aug 2013, p.77]

The core trio of Chris Gunst, Brent Rademaker and Farmer Dave Scher, plus various friends, excel on the breezy optimism of “Falling Forever”, while the mellow vibes of “Faded Glory” recall Teenage Fanclub at their sunniest. [Aug 2024, p.31]

Haiku Salut deepen and widen their electro-pastoral sound on this mostly sublime third album. [Nov 2018, p.30]

[An] effervescent, sun-dappled debut. [Aug 2005, p.103]

Built To Spill's blend of expressive guitar playing and light to moderate whining plays as well today as it did when the band emerged nearly 15 years ago. [Jul 2007, p.96]

Friko's second is sonically ambitious but just as immediate. [May 2026, p.29]

An odd mix, maybe, but a believable one. [Mar 2017, p.31]

As ever, OCMS manage the deft balance of embracing tradition without lapsing into curatorial piousness or zany pastiche. [Nov 2023, p.31]

The results are stiff at times, the LP overlong, but Branch's country songwriting sounds all the more compelling and idiosyncratic in this setting. [May 2017, p.25]

Melodic beauty at times gives way to oversweet twinkling, but "Modigliani" and "Most Wanted Man" are winners. [May 2025, p.29]

White has found his sweet spot in the downhome elegance of Nashville's golden age, collaborating with venerable songwriters Whisperin' Bill Anderson and Booby Braddock, while Muscle Shoals bass legend David Hood anchors his studio band. [May 2019, p.37]