On a lesser album, the eclecticism might lead to a lack of coherence, but this record is always threaded through with Beer’s diaristic lyricism. With its consistent, gut-punching honesty and witty wordplay, you’ll always find something special on ‘Life Support’.

A compelling record that bears more resemblance to the indie of Bright Eyes or Modest Mouse than anything found on 2003's 'Deja Entendu'. [18 Nov 2006, p.33]

The Last Shadow Puppets is an awesome achievement--a modern reinvigoration of an archaic, dead musical language.

Black Lips’ spirit is as bright and brilliant as ever.

Great album, if not entirely relaxing.

The album may not be teeming with experimentation – and somewhat understated in places – but it’s certainly potent enough.

If 'Wind In The Wires' is not exactly an innocent record, then, it is certainly sincere. And that sincerity, allied to such extraordinary sounding songs, makes for an exhilarating experience. [12 Feb 2005, p.49]

While Nasty’s catalogue has found her focused on pushing to the extremities of self-expression – baking rock, screamo and punk directly into her rap with reckless abandon – with this record she flexes her chops as an artist with mainstream appeal.

‘The Dream’ continues the slow, rewarding blossoming of Alt-J’s records, each a little more generous, thoughtful and optimistic than the last. ... It’s the sound of a band revitalised, having finally found their happy place.

There are few smiles cracked on an album that’s shot through with the loneliness of the night bus home. But this is a record in the true sense of the word: a document of a certain time and place, an emotional account of a cruel, Krule world.

‘The Theory Of Whatever’ shows that – unless he chooses to hit the eject button for himself – Jamie T should be sticking around for a lot longer.

The production values on You Are We are perfection--too many metalcore records overproduce until notes feel clinical. But ‘Feel’ builds and drops like an avalanche of brilliance, Taylor’s voice firing off a round of vocal ammo with ease.

The stories Rose tells are as fresh as wet ink.

Their future as a metal act with their fingers on the button seems assured.

With his finest tracks lasso'd together, you can notice the immaculate progression of James Murphy.

Alongside stripped-back, warm and hazy versions of the always powerful ‘Ohio’, ‘Alabama’ and ‘Southern Man’, Young’s new take on 1977’s ‘Campaigner’ hits especially hard.

‘Fighting Demons’ is evidence of a nuanced, complex artist whose legacy is stunning in its richness.

If you imagine the noise God makes just before he eats a slice of cheese on toast, then comparably, that’s how satisfyingly yearning the 65 minutes of 'Takk…' sounds.

In any other hands this would have been a total disaster, but yes, things are never quite that simple with these two.

Across 11 tracks, Jessy Lanza has delivered her strongest album yet: ‘Love Hallucination’ is a record that boldly soars towards synth-pop ecstasy while retaining its experimental desire.

These are some of the most interesting and sonically varied songs of her entire career.

A truly lovely thing to behold; a pretence-free, summery shimmy through pop's enchanted garden, with tear-tugging Bacharachy bits and choruses of angels and everything.

‘Multitudes’ was written in part during an experimental and communal set of shows Feist put on through 2021 and 2022 by the same name, and 12 poetic tracks that make up ‘Multitudes’ embody the same inventiveness, intimacy and connection of that limited run of performances in the round.

Heartbroken, but heavenly.

They may be Pivot no more, but they're turning heads – and for all the right reasons.

Banks, Kaufman and Barrick prove far more than the sum of their parts, turning on a bright light of their own.

In the poetic and thoughtful nature of it, as well as the odd glimpse of where she could go next, WILLOW’s fifth record should be noted as her breaking sonically mature new ground.

It’s perhaps not the best month to be showing such unabashed love for Phil Spector, but timing aside, this is an outstanding album.