The immediacy is obvious, and the band stretch Yorkston's reassuring vulnerability in new directions. [Feb 2021, p.37]

Its heady and timeless distillation of dub gospel, disco excursions, molten psych rock and soulful swagger sounds more like back to the future. [Jul 2025, p.37]

The results are as striking and challenging as you'd expect. [May 2026, p.35]

Arbez not only shatters the risible notion that dance music is currently unwell, he also presents thrilling new ways of approaching pop, folk and rock'n'roll. [May 2005, p.100]

They could afford to take more liberties with the musical cliches thereof: listening to Gaslighter is a bit like eating 12 courses of dessert. [Oct 2020, p.29]

This is a focused trio who boast a superb drummer and feature lovely, unshowy harmonies, able to balance the melancholy of Nils Edenloff's lyrics with a euphoric, confident delivery that feels like a brilliant form of catharsis. [Jan 2018, p.26]

Thankfully, Williams' effort to emulate that bygone sound is too sophisticated and idiosyncratic to be mere pastiche. [Mar 2018, p.35]

Following on from a 2017 album of standards, this chiefly replaces covers with original compositions and adds a meaningful, Slint-like loitering on chord to his repertoire of shattered blues licks. [Nov 2019, p.30]

They're still loud and angry - exploring themes around national identity, solidarity and challenging political establishments - but there is greater musical depth and breadth. [May 2025, p.32]

Dreamy, classic-sounding pop nuggets, sung by Cox with a wry, casual authority. [Jan 2011, p.79]

The result: Meiburg's finest album to date. [Feb 2016, p.80]

It is arguably more satisfying [than his debut, Queen of Denmark], in its artistic courage, its refusal to meet expectations and its willingness to paint a brand new picture of gay demi-monde where the triumphs and tragedies have a deeper resonance than simple melodrama or camp. [Apr 2013, p.70]

As ever it's Collins' wonderfully unfussy voice that is the star. [Dec 2016, p.26]

Quiet Life enabled Japan to get from B to C, and from D to E, and from there to wherever they went next. ... A third disc, recorded live at Japan's Budokan, captures the band at full tilt. [Apr 2021, p.45]

The addition of a horn section brings pleasing texture to the likes of "Hotel" and "Revisited," but it's rarely enough to lift The Antlers out of their willfully wounded torpor. [Jul 2014, p.69]

An electrifying collision of cosmic jazz and squalling psychedelic rock, all tumbling grooves and frenzied collective euphoria. [May 2019, p.34]

Like such fellow travellers as Horse Lords and Still House Plants, the band often seem hellbent on inaugurating a post-rock revival. [Nov 2025, p.39]

Despite these potentially dour themes, Running Out Of Love is far from a gloom-fest, couched as it is in disco and '80s-influenced electronica. [Nov 2016, p.35]

The gauzy, indistinct vocals of Neil Halsted and Rachel Goswell continue to weave their shoey magic. [Jun 2017, p.27]

The live setting and frontman Joe Talbot's inter-song exhortations heighten the feeling of being sucked into communal catharsis. [Jan 2020, p.26]

A little more forward in the use of bouncing rhythms. [Mar 2021, p.28]

The people in these songs are losing their listeners, memory or love, suffering partial erasures. And yet this melodic music holds them close with familial warmth. [Jul 2021, p.27]

Though the motherlode of unreleased music found on Slanted And Enchanted and Crooked Rain, Crooked Rain’s reissues is absent, many of the extra tracks here are worth checking out. ... The rest of this set shows that it’s still a station very much worth stopping at, now more so than ever. [May 2022, p.42]

This soulful, spiritual, experimental collection is a rich testament to the chemistry of collaboration. [Oct 2023, p.26]

Porterfield has a way of entwining lyrical detail and broad sentiment that is compelling and original. [Sep 2012, p.76]

I Know I’m Funny Haha is her most seamless melding of urban country, warm ’70s soul, gutsy classic rock and introspective indie-pop, as she settles easily into the cracks between categories. ... I Know I'm Funny Haha could only been made by no-one else but Faye Webster. [Jul 2021, p.16]

Producer Robert Glasper adds a jazz sensibility lacking from Fele's original albums, while Carlos Santana shreds on Black Times, but it's the Egypt 80 big band who are the stars. [Apr 2018, p.29]

A spectacular return to the tower of song and the game he plays best. Brimming with memorable melodies, swooning arrangements and smart lyrics dreamily sung. [Aug 2020, p.39]