Amos has never been in rangier voice. [Mar 2005, p.102]

The collection is a little frontloaded, petering out with some tracks of solo guitar, bass and drums. [Feb 2011, p.82]

The self-assured swagger that enlivens the 17-track ush! emanates from the focuses attack of the band members, whose playing thrums with attitude. [Mar 2023, p.32]

A collection that aims to sweep up the moments when the spotlight isn't on, Sawdust, therefore, might just be their defining document [Jan 2008, p.91]

Goldie strikes a neat balance between exploratory drum programming ad sleek soul. [Jul 2017, p.30]

This Brooklyn-based trio make hedonistic dance-pop with brainy-sexy lyrics informed by gender politics, third-wave feminism and Queer Theory. [Feb 2011, p.90]

There's no shortage of decent tunes. [Nov 2011, p.83]

The first half of Mind Trap is dedicated to a sort of naifish folk-rock, flirting with the banal but occasionally happening on moments of quiet loveliness. [Mar 2014, p.73]

The group conjure a brilliantly ludicrous trash-pop poetry, hymning girls with gammy eyes on night buses--all much more seedily evocative and enjoyable than erstwhile Yummy Fur comrades, Franz Ferdinand. [May 2009, p.77]

This serves notice that the recent Wu-Tang renaissance may now be at an end. [Sep 2008, p.100]

No boundaries are breached, but this is a loose, engaging record. [Sep 2011, p.96]

Foul-mouthed, egocentric rhymes and nondescript beats. [Jun 2003, p.91]

A sluggish, garage rock set. [Jun 2007, p.99]

Avoiding the ponderous repetition that dragged down songs like “Bullets” on the first record, they concoct a gentler, dreamier atmosphere with less apparent anxiety, and create a shadowy veil of sadness, shot through with hopeful transcendence.

In taming their eccentricity, Dios (Malos) have also lost some of their dreamy romanticism along the way. [Mar 2006, p.98]

Catchy as hell. [Oct 2008, p.90]

If corralling the chaos is their new MO, they made a smart move. [Aug 2011, p.81]

Pagans' first half dazzles.... The album closes with eight minutes of psedo-Vangelis twaddle. [Oct 2015, p.80]

In fine and fiesty form, Auchtermuchty's Craig and Charlie Reid effectively slap you round the face with their latest batch of songs. [Nov 2007, p.116]

His debut as a solo artist is no grand break from past form, while confirming that age shall not wither him. [Feb 2009, p.101]

Clearly full of ideas and enthusiasm, FrYars suffer from a cheapness of sound, the instrumentation often too basic and one-dimensional to give songs od potential the lick of sonic paint they deserve. [Nov 2009, p.94]

It's an album inspired by Camus that's never less than intense. It;s also overwrought, as the taciturn voice and glum lyrics wrestle for space with manically busy strings and an unfortunate folk feel. [Jun 2011, p.87]

A second LP that builds on the promise of their 2009 debut, Harum Scarum. [Mar 2013, p.72]

An engagingly simple and yet sophisticated third album, full of elegant melodies, shuffling percussion and bewitching Marling-esque vocals. [May 2013, p.67]

Overlooking the rare lapse into anodyne mellowness, it would appear Evelyn's got his future-soul mojo back. [Nov 2013, p.75]

The Mexican duo aren't quite in the Jansch/Renbourne class, but they create memorable tunes full of clever variations of timbre, texture and tone. [May 2014, p.78]

Mostly these dry, derivative, rather dreary songs of endeavour are a hard slog. [Jun 2015, p.84]

The Acorn remain elusive. [Jul 2015, p.69]