The shape and personality of a song are everything, and Elkington's arrangements serve these tracks superbly. [Dec 2025, p.26]

The trio [is] on reassuringly unpredictable form. [Oct 2016, p.40]

Doesn't reveal itself in haste but rather unfolds over time and through multitudinous layers. [Nov 2019, p.23]

Fohr's extraordinarily expressive baritone--echoing Nina Simone, Nico and Scot Walker--is the centre of her songs which range far and wide compositionally. [Nov 2017, p.24]

From dive-bar romps to plaintive reflection, this is his strongest collection for some time. [Nov 2018, p.30]

On Selenites, Selenites! they create a party anyone would want an invitation to. [Review Of The Year 2025, p.29]

The qualities that once made The Verve the nation's top anthemists are recognisably intact on this new effort, from its stately pace to its burnished sense of grandeur. [Feb 2006, p.70]

Her third album finds her developing her instrumental palette, often allowing moody strings rather than piano to dominate arrangements. [Jan 2017, p.28]

Utterly addictive and reality-shifting. [Jan 2017, p.21]

You may well own these already, but the value of this collection is as a portrait of the artist through time, and a compilation of the irresistible outpourings of a man who never really knew who he was. [Nov 2013, p.83]

The selections on this earworm-packed compilation prove that the limitations of 8-and 16-bit technology and the era's primitive sound chips were no obstacle to the most determined composers. [Jan 2018, p.43]

This four-CD box demonstrates Bedhead to be a band incapable of missteps. [Jan 2015, p.86]

Deer Creek Canyon is dappled with sad-slow shuffles and lovely ruminations on escape, the roll of the seasons and her roots in Colorado. [Jan 2013, p.73]

Parker Millsap's second album is possessed of classic troubadour restlessness, drenched in the Pentecost but headed onto country/folk/blues highways tramped down by everyone from Johnny Cash to John Fullbright. [Mar 2014, p.79]

The King of Limbs passes like a breeze, and has you skipping back to the start as soon as the final track fades out. [May 2011, p.90]

If El Camino was the Keys' catchiest album. Turn Blue turns out to be their sneakiest, subtlest and most seductive. [Jun 2014, p.65]

So Long... is deeply rooted in west Coast sunset pop, more Fleetwood Mac than Del McCoury, although her guitar picking is always precise, imaginative, and, on "The Highway Knows", utterly joyful. [Oct 2025, p.35]

Tightly wound--easygoing but uptight; the work of a man still striving for a modest kind of perfection. And--not for the first time--with Still he has almost achieved it. [Jul 2015, p.65]

Brothers shines brightest when Nelson spins out pithy philosophising, or hits a certain inimitable, rambling, jazzy sweet spot with his longtime band. [Aug 2014, p.70]

Brave and different. [Sep 2015, p.80]

Their garage-rock stylings have flourished. [Oct 2018, p.29]

Ascent sounds like Chasny channeling a great band's alchemical powers to his own ends, in the process making what may turn out to be a highpoint in his already rich and complex career. [Sep 2012, p.78]

[A] sonically rich, mostly great album. [Jan 2017, p.28]

By far their boldest statement yet. [Apr 2007, p.92]

Roots For Ruin burns with their reignited love of Fugazi, Pixies and Pavement. [Oct 2010, p.98]

The prevailing mood is one of stately elegance but there are flashes of wit, too. [Jun 2021, p.25]

Blistering opener "Straight To Hell" sets the carpe diem tone. [May 2020, p.32]

With Lanegan at his stentorian best and Dulli in full confessional mode, Saturnalia is a feast, certainly--but one where the dishes are served delightfully raw.