With Shine On, Jet manage to establish a common ground between Badfinger and AC/DC. [Nov 2006, p.110]

Monuments To An Elegy constitutes an unexpected return to form. [Jan 2015, p.66]

Laugh Track features a band free of some of their usual burden. [Dec 2023, p.34]

A graceful, distinctive album. [Mar 2012, p.101]

It's bolshy, uncompromising and demands to be played on repeat. [Aug 2020, p.36]

Humanworld is every bit as good as, and at points even better than, its predecessor, as though Parrett's finally, almost five decades in, found his true metier. [Jul 2019, p.32]

Music at its most passionate. [Sep 2002, p.112]

"George Jones Talkin' Cell Phone Blues" "The Great Car Dealer War", and covers of Tom Petty's "Rebels" and Dylan's "Like A Rolling Stone" are among highlights of an album that many of the DBTs' peers would cheerfully claim as a career peak. [Jan 2010, p. 106]

A sustained soft explosion of hushed, aching indietronica. [June 2003, p.91]

El Khatib and Auerbach pull off their modest yet elusive goal--to make a kickass record from start to finish--with brutal elegance. [Jul 2013, p.75]

Between the orderly new overview. with its 15 previously unissued tracks, and McLagan's engagingly hodgepodge insider's portrait, we have as complete picture as we're likely to get. [Oct 2015, p.95]

Wilds will continue to content those eager to brandish their knowledge of Ennio Morricone, Os Mutantes or Jacques Dutronc, but it nonetheless cries out for attention from those looking for more primal, immediate pleasures: beauty, bliss and release. [Feb 2022, p.24]

While nowadays one might be tempted instead to call this ‘post-jazz’. Nonetheless, perhaps the best way to think of Butterss’ work is as simply ‘jazz plus’. It’s suitably inclusive and ultimately most reflective of her sweeping ambitions. [Nov 2024, p.32]

While these are thrillingly alive with Scott's undaunted belief in rock's majestic possibilities, he reminds himself to have fun as well. [Oct 2011, p.105]

A slight tendency to clutter is in evidence, but when the band pare it back, it's magical. [Nov 2013, p.81]

The xx have expanded their horizons without sacrificing any of the emotional intimacy that makes them one of the most compelling acts around. [Feb 2017, p.22]

Pleasingly, Segall's root wildness is enhanced by their [Ben Boye, Mikal Cronin, Emmett Kelly, and Charles Moothart's] jamming virtuosity. [Feb 2017, p.37]

There are echoes of Jenny Lewis or perhaps the Swedish pop of Hello Saferide, but the mix of sass and vulnerability adds a melancholy air to the understated twang of "It's Our Time." [Nov 2011, p.94]

His is a personal, emotive take, and it proves very effective. [Dec 2012, p.72]

It’s a brave, bonkers, often beautiful, sometimes haunting and occasionally ridiculous album.

Joe Henry coaxes out his pithy, hard-bitten wisdom with unfussy production. [Oct 2008, p.98]

Suuns have never been slouches in the mutant kosmische department, but the John Congleton-produced Hold/Still blasts them into a new dimension. [Jun 2016, p.81]

Plenty of musicians have subsequently tried to channel that weirdness. Rose, though, always seemed to explore ancient territory with vigour and good humour on his records - and Luck In The Valley, his last, is one of the best.

CO's fifth album clothes Campbell's vignettes of thwarted romance in increasingly sophisticated arrangements. [Jul 2013, p.72]

Kleyn's songs sung to a rugged, vaguely Celtic harp accompaniment with electric piano, bridge the gap between Judy Collins and Joanna Newsom. [Sep 2011, p.88]

Any compilation that roams from Chris Bell's "I Am The Cosmos" to Husker Du's Hardly Getting Over It" and The Cynics' "take Her Hand" will surely kickstart your day. [Mar 2026, p.49]

Noisy but thoughtful, and frenzied but melodic. [Feb 2018, p.32]

An album that appears to be all about mood and texture transforms over time into a fully realised collection of beautiful songs from an artist determined to keep moving forward, however stealthily. [Jan 2018, p.19]