Wonderfully eclectic and strangely uplifting. [Aug 2021, p.31]

The fourth album by childhood friends Carlotta Cosials and Ana Perrote is a masterclass in simple but devastatingly effective melodies. [Oct 2024, p.36]

There's a greater diversity of moods, tempos and instruments, supporting a more experimental mindset. [Jul 2020, p.27]

Exhausting but rewarding. [Oct 2018, p.26]

Dawes have never sounded more musically sophisticated. [Sep 2022, p.23]

Lyrically and vocally, Houck is as witty and insightful as the come, with that cacked voice making everything sound sacred or profound. [Mar 2024, p.33]

“Stock Horror” offering aghostly absence, its additional sepulchral weight midway through welcoming what could be ameteor shower, while the amorphous “Dim Hopes” ultimately brings brighter skies too. Similarly, “We Were Vaporised” effects alanguid transubstantiation. [Jun 2024, p.39]

Screen Violence is a punchy and determined effort, full of big hooks ands awash with glittering synth textures. [Sep 2021, p.27]

Their debut burns through 11 tracks in 27 minutes like acetylene torch burns through butter, as spin-on-a-dime tight as it is exhilaration unsubtle. But there's more to Amyl than visceral wallop--namely Amy Taylor. [Jun 2019, p.23]

What lingers is that vivid voice. [Jun 2021, p.25]

Beyond the clever production and judicious musical blend is a sensibility and a voice and songs that find Plant still on his quest, still grappling with the intricacies of love, still seduced by distant, misty mountains. His Uniqueness has never been more apparent. [Oct 2014, p.61]

Highlights include Idles’ explosive “Peace Signs”; St Panther unlocking the irresistible pop heart of “One Day”; and “Love More” given a rhythmic, world-weary makeover by Fiona Apple. [Jun 2021, p.46]

A wonderous, modernist mix of LiLiPUT, Husker Du and Yeah Yeah Yeahs. [Mar 2022, p.28]

It's terrific, lively fun--soulful, even--as long as nobody tries to tell you there's something radical about it. [Sep 2004, p.101]

This is a lovely addition to an organic, forest-themed catalogue that works on the macro and micro levels. [Mar 2022, p.29]

Fu##in Up captures Young and the Horse on blazing form. Nelson makes acapable duelling partner for Young, working intuitively alongside Old Black’s grizzled solos, while Lofgren’s honky-tonk piano lends ashimmying quality to these craggy, elemental songs. [May 2024, p.41]

This is mostly a sombre affair. [Mar 2003, p.106]

It's only the Can-meets-Canned-Heat avant-boogie of "Bees" and "Barnowl" that escape a sense of academic contrivance. [May 2005, p.95]

A startling, inspirational comeback. [Dec 2012, p.68]

It’s a rare pleasure to hear a band so at ease with themselves, playing with no obvious aim or agenda beyond having a good time and hoping you do, too. The best thing about Fits is imagining how incredible these songs will be when played live.

It's this insistence on resolutely following her instincts that makes this record so lustily appealing from top to bottom. [Nov 2011, p.95]

A joyous, uninhibited and painlessly adventurous ride. [Oct 2005, p.124]

This one is more bluesy and soulful, a kind of semi-protest record that takes stock of post-Bush USA. [Mar 2009, p.88]

Their grandiose Baron Muchhausen indie rock does tend to veer toward indulgent. [Jul 2009, p.101]

Nestled between krautrock clatter and art-school drones are tracks that feel like stadium-sized anthems, particularly the Coldplay-meets-MGMT chugger "He Falls To Me" and the Afro-pop singalong "Underage". [Dec 2009, p. 97]

It's a genius pop album by a genius pop singer-songwriter. [Nov 2013, p.70]

The period-perfect production is a little Dukes Of Stratosphear, though as with Partridge and co, the songs are so well crafted as to avoid any sense of prissy homage. [Nov 2013, p.79]

These are songs to be treasured. [Apr 2014, p.73]