Her's mine post-punk and new wave with a tasteful restraint, fusing Scritti Polotti's twinkling, slinky grooves with the luminous lugubriousness of Orange Juice to create something that feels distinctly theirs. [Sep 2018, p.113]

There's a wildness to it, a predatory snarl as it bares its teeth and chases down new ways of expressing desire, different ways of being. [Sep 2018, p.112]

An appropriately violent swansong, then. [Dec 2016, p.106]

This follow-up boasts a more cohesive sound but without sacrificing the duo's Eastern-influenced allure. [Jul 2012, p.108]

Field Music honor these songs by bringing the same bold commitment they bring to their own writing. [Dec 2012, p.105]

Resurgent indie icon with added Drums, Cribs and Franz Ferdinand. [Oct. 2010, p. 105]

Possibly the most polished album Adams has produced, Moves is bigger and grander than its DIY indie-rock sound may suggest. [Feb 2013, p.110]

His trademark lyrical honesty and sublime fingerpicking remain at the fore. [Oct 2013, p.99]

If you've ever half-enjoyed an Eels album, What's New, Tomboy? will make you swoon. [Jul 2020, p.109]

Strikes the right balance between rock ballast and frayed pop beauty. [Sep 2011, p. 101]

So much here seems big and bright, but underneath there's a greyer area to explore. [June 2019, p.116]

It's a flinty rock record that lets Cocker's inner guitar beast out. [Jun 2009, p.118]

They're still here and they're still very good. [May 2013, p.93]

For both Grohl and Homme, Them Crooked Vultures isn't a supergroup pitched at the world's stadia, but rather a pressure release valve from their highly successful day jobs, an opportunity to kick out the jams - this is very much an album based around heads-down, brain-disengaged, rock 'n' roll boogie jamming - and revisit the classic hard rock sounds they were reared upon. [Jan 2010, p. 114]

If there is a highlight on this surprisingly dog-free set it's Fight For This Love, where soaring melody piles upon soaring melody without sacrificing its subtle grace. [Dec 2009, p. 121]

If you can cope with the intensity, tracks such as Done and the almost unbearably sombre $20 draw a mesmerising beauty from their anguish. [May 2011, p.119]

It's hard to quarrel with the 27-minute running time when every second is irresisitible. [Jun 2010, p.124]

At a time when Fatboy Slim has gone chill-out, Orbital have gone noodly, and Underworld, nd Prodigy seem to have just gone somewhere else, Basement Jaxx are, happily, on hand with another brilliantly messy blueprint for UK dance music - and dance music that you can actually dance to, at that.

Let Them Eat Chaos is masterful. [Nov 2016, p.107]

The results can veer wildly from the alluring to the downright alarming. Yet Gately's ear for melody holds it all together. [Dec 2016, p.106]

Amor's debut is a collaborative exercise that plays to each memeber's individual strengths. [Jan 2019, p.106]

His seventh album bristles with ambition, merging influences ranging from hair metal and Merseybeat. [Jul 2010, p.136]

So far, so US-obsessed, but scratch below the surface and there's a charismatic quirkiness to Tinie, that makes him an artist apart from his contemporaries. [Dec 2013, p.113]

At 69 White has no need to prove himself, so be grateful he feels the desire to do it anyway. [Oct 2013, p.99]

Here he revisits an early interest in exotica, the '50s faux-tropical lounge style, creating mood music with a global twist. [Jul 2020, p.110]

Jurado has an eagerness to experiment and independence of thought that spills into his characters, and it's very good look on them all. [Feb 2014, p.116]

Essentially, it's post rock without the waiting around - all the songs here are straight arrowed and straight-forward, but never predictable. [Oct 2011, p. 125]

Angular and unpredictable, their intricate interplay makes for enthralling listening. [Aug 2009, p.107]