Their latest dismantles the genre boundaries often used to pen them in. [Dec 2015, p.79]

Despite its many-handedness, Rainbow Ends is an intensely personal vision. Indeed, it feels more like a companion piece to his great ’70s work than it does a postscript.

He's at his best on the more downbeat moments. [Apr 2017, p.35]

Deep-pocket blues covers alternate with scintillating originals. [Oct 2018, p.32]

[B.E.D.'s] conversational neo-electroclash ditties are slight but hugely charming. [Jan 2019, p.20]

On this debut album they already sound fully formed, despite only having come together in 2016. [May 2019, p.37]

It's lo-fi ambience sometimes sound submerged, suiting a report from deep in life's wreckage. [Dec 2020, p.35]

Airy melodies and Rachael's breathy vocals combine to create music that gets under the skin. [Jul 2023, p.24]

Confirming the band's Merseyside-'67 LA space-time portal, retracing familiar if melodically firm ground. [Oct 2023, p.26]

Sherwood's production is typically stylish - clear when needed, dubbed-out and spiraling when the music demands; heavy and uplifting. [Nov 2023, p.26]

The decades since Fogerty first recorded these tracks have perhaps cost him some of the high top and low bottom ends of that distinctive half-drawl-half-snarl with which a California kid reinvented himself as some Southern swamp monster, but across “Legacy” he sounds generally in vigorous form, verging in parts on the downright feral, and he is surely entitled to what is as much a vindication as a celebration. [Sep 2025, p.30]

The whirl of ideas is intoxicating. .... But there's space for moments of straightforward beauty too. [Sep 2025, p.29]

A Bridge To Far finds Midlake refining what they do best. [Dec 2025, p.30]

While [Tom Joad] was often more like reading a book than listening to a record, this time Springsteen has struck a more natural balance between words and music. [Jun 2005, p.100]

Anyone who ever felt that David Rawlings hid his light under Gillian Welch's bushel-never getting the full credit he merited as her partner and accomplice--will greet his first solo album with a lusty cheer. [Dec 2009, p. 101]

As so often, Chris Abrahams' piano provides an anchor. [May 2020, p.31]

More suited to contemplation and drift than dance, perhaps, and with Gavin Bryars-like strings and low-level electronics making the 11 pieces more voluptuous than ever. [Oct 2014, p.67]

Kannon will leave other neophytes feeling awed by the complexity and physicality achieved here. [Jan 2016, p.70]

Their elastic moods are endlessly absorbing, typified by the almost weightless "Cernubicua" and the grinding, Malevolent buzz of "Inkstain." [May 2018, p.27]

This is a fretful and ferocious record, lyrically much preoccupied with things having ended or appearing about to end, but musically much more blaze of glory than any kind of funeral pyre. [May 2024, p.40]

It understandably struggles with a weightiness, an emotional claustrophobia. [Jun 2006, p.100]

It is, like LA itself, heavy on style. [Sep 2008, p.88]

Waiting For You echoes something of The Bug's brooding, echo-drenched pressure, but where London Zoo felt dense, the likes of "Meltdown" have a beautifully spectral, washed-out quality, Robinson's sweet, soulful vocals weaving through the night in search of salvation. [Jan 2010, p. 118]

Sprawling, impassioned and mostly terrific. [Oct 2011, p.98]

This, to paraphrase Burnett, just tore 2012 a new one. [Jun 2012, p.71]

The Streets' Original Pirate Material crossbred with The Fall's Grotesque, it's nasty and brutish, but mercifully short. [Jun 2014, p.83]

An album of fierce ambition and undeniable charm. [Mar 2015, p.80]

Self-imposed limitations allow Lawrie to create unusual textures and sounds and force him to be more resourceful in how he deploys them. [Mar 2023, p.36]