It resembles The Boredoms in its sense of sonic bravery, although the suspicion lingers that more focus is required before they can produce another record of the calibre of 2002's "Beaches And Canyons." [May 2009, p.79]

While the fuzz-filled punk vibe is still present and correct, there's also a hard rock thread running through Overdrive. [May 2014, p.80]

Their true talent lies in creating songs replete with dreamy, late summer melancholy, shrouded in dusky reverb and topped off with Justin Young's oddly emotive quaver.[Apr 2011, p.84]

The sound is urgent and instinctive. [Dec 2006, p.124]

Pushing too hard, then or maybe not hard enough. [Jun 2012, p.79]

Smith sounds revitalised (and often very amused), delivering his most emphatic vocals in years. [Mar 2007, p.76]

Their wispy, diaphanous reworking of The Cure’s 'Just Like Heaven' suggests the Watson formula could travel far.

High profile fans like Jeff Beck, Kid Rock and Warren Haynes help trombone shorty create what he calling "supafunk rock," a decidedly unsexy, sub-Chili Peppers amalgam with pointless horn riffs. [Nov 2011, p.98]

Aside from the pleasantly Britpoppy "50,000 Kilowatts" and "Drown All The Witches," This is fast, fun, and full of piss and vinegar than one might expect from such seasoned campaigners. [Dec 2014, p.71]

Production-wise, his hallmark arrhythmic snares are now sounding a little rote nearly a decade after their inception. [Aug 2011, p.104]

Although the songs are both traditional and modern, the mood of gentle awe and foreboding wonder is all of a piece. [Nov 2006, p.102]

Wainwright’s vocals imbue the material with a mixture of world-weariness, compassion and delight, qualities that didn’t loom large in the emotional lexicon of his younger self.

With experiments in disco, dubstep and drum'n'bass all unmistakably Underworld, Barking is the sound of veterans re-energised. [Oct 2010, p.

What once seemed an aesthetic springboard for the band to make truly great music now seems rather like retreading old ground. [Jun 2017, p.33]

So wild and stripped-down it makes The White Stripes sound like Yes. [Jan 2004, p.102]

While not quite a handbrake turn, No witch shows a band moving out of the woods into wider spaces. [Apr 2011, p.77]

Fairly mundane. [Aug 2006, p.86]

Roaring 20s provides cod-reggae backing for Jordan Stephens and Harley Alexander-Sule to discuss the impact of social media and the nature of fame. [Oct 2013, p.74]

While there's nothing here to equal his career-changing hit "P's And Q's," opener "Hail" comes close with its down-and-dirty signature riff. [Apr 2016, p.75]

The cumulative effect is upbeat jubilation. [Oct 2018, p.30]

This traverses dancehall, lovers rock and jungle, and adds in more UK-centric bass styles, with some success. [Sep 2011, p.96]

The very wonderful Eyeland finds them poised between the familiar and the less so. [Jul 2016, p.75]

Works best when it diverts furthest from the originals. [Aug 2022, p.25]

At best, Varshons is a joy forever. Even at worst, it’s a forgiveable, even likeable, labour of love.

Once the shock subsides, it's quite charming. [Apr 2011, p.89]

More of this arch British sourness next time. Please. [Oct 2012, p.86]

The flirtations with more dissonant sounds throughout also point to a welcome eagerness to roughen up the latest results of Surfer Blood's ongoing quest to find the happy medium between the Pixies and The Hollies. [Mar 2017, p.40]

Aokohio maintains that momentum [from 2017's Moh Lhean], even if it is typically scattershot, haphazard, surreal and episodic, featuring short bursts of beautiful melody, soul-searching found sounds, unsettling atmospherics and dark humour. [Sep 2019, p.37]