Goes back to basics with a blinding mix of anthemic post-punk rockers and pretty mid-tempo ballads. [Jul 2002, p.107]

Adult. deserve respect if only for making an almost overwhelmingly vicious album that succeeds on its own unreasonable terms. [May 2003, p.102]

Humorous, pithy and downright ballsy. [Sep 2001, p.106]

Miss Fortune is her least mainstream album to date and finds her moving delightfully nearer the terrain occupied by sister Shelby Lynne. [Sep 2002, p.114]

Too True is a bold album. [Feb 2014, p.73]

A typically frantic burst of speed metal/punk, but underpinned with plenty of hooks and changes of pace to maintain interest. [Dec 2014, p.75]

The post-coital twang of 'Aly, Walk With Me' and 'Lust' are enough to arouse even the most jaded trash-rock fetishist. [Dec 2008, p.101]

It's all invigorating, wonderful stuff.

Admirably democratic, but a few dictatorial vetoes might not have gone amiss. [Jul 2013, p.71]

Preposterous on first listen, more utterly beguiling with each repeat. [Mar 2015, p.71]

A return to a winning formula, if not an emphatic return to form. [Jun 2013, p.79]

They've got a food ear for summer anthems but Jungle lacks the knowing self-deprecation and tender lyricism of Hot Chip or Metronomy, so all you're left with here is a pleasant pastiche. [Aug 2014, p.75]

Frivolous fun, if that's allowed. [Oct 2012, p.86]

Over it all, Vek free-associates with the kind of bland monotony which serves his music--and these times--surprisingly well. [Jul 2014, p.83]

Ex is full of Hawtin's old sleek menace and disdain for obvious peaks, though the sound design is fractionally lusher than that of brutalist texts like Musik (1194). [Sep 2014, p.75]

Quieter, more ethereal tracks such as "Lone Wolf" have less of an impact, showing that Landshapes are at their best when they're loud. [Jun 2015, p.77]

Kin still sounds like the work of a clued-up hipster who doesn't particularly like the grimly effective pop songs that she's able to write. [Oct 2016, p.40]

Thanks For Listening has the same gentle humour and musical imagination he brings to the airwaves [as host of Prairie Home Companion], although "I Made This For You" and the title track are a bit precious in their meta trappings. [Jan 2018, p.26]

One For The Ghost is at its best when he works up a head of steam and leaves James Hoare's guitar space to sparkle. [Mar 2018, p.22]

Delightful for a dark night in. [Jan 2019, p.27]

At first you're impressed by more robust moments such as "From Inside, Looking Out"--think Philip Glass on steroids. But further plays are to the benefit of the record's more restrained moments. [May 2019, p.37]

This Yorkshire quartet's debut deserves similar acclaim to Shame, Idles, Fontaines DC and their ilk. [Mar 2020, p.33]

More surprising, perhaps, is the gorgeous, toe-tapping soul-pop of “Step Into Your Power”, which brings to mind Matthew E White and may just be the best song Lamontagne has written since 2004’s “Trouble”. [Sep 2024, p.36]

The listener who experiences this album as physically as it is delivered will be rewarded with calories burned, an endorphin rush to die for, and heavy sweating indeed. [Aug 2010, p.94]

21 haunting, electronic vignettes. [May 2020, p.35]

Flares dazzlingly on initial contact, but dims a little. [Jun 2004, p.92]

This is deluxe, bespoke, artisan electronica, only slightly marred by its high seriousness and lack of mischief. [Jul 2014, p.67]

The overwhelming sense is of a group needlessly hobbling themselves. [Jun 2006, p.110]