It is mainly a joyous affair, good-timey in a well structured way and often reminiscent of the kind of thing Johnny Rivers used to dispense at the start of the '70s. [Apr 2009, p.101]

Adrift in a sun-warped dome of guitar wah, wobble and dub. [Apr 2015, p.89]

Something Dirty is powerful and multi-textured, but there's less of the studio experimentation that marked 2009's C'est Com...Com...Complique, despite Peron being promisingly credited with flamethrower and goat hooves. [Mar 2011, p.98]

Sweet, then, but you wouldn't eat a whole one. [Apr 2014, p.98]

Another sprawling, somewhat overwrought Ashcroft solo record. [Jun 2016, p.88]

Another point of reference is Gorky's Zygotic Mynic and it's Girl Ray's appropriation of their scherzo sensibility lifts the three-piece beyond pastiche, feeding songs such as Don't Go Back St Ten and Where Am I Now with a musical strangeness that's totally alluring. [Sep 2017, p.90]

Bows & Arrows might seem like the ideal rock'n'roll yuletide soundtrack--and it is, but only for those who spend their Christmases in dive bars with nothing but a gold-hearted hooker, bottomless highball glass and volume of Bukowski poetry for company. [May 2004, p.100]

Good news for shoegaze-curious neophytes too afraid to dive headfirst into MBV's loveless, but very backward looking, too. [Jan 2012, p.98]

Thoughtful, slow-burning dream pop. [Apr 2014, p.98]

If this is about cities, it's cities glimpsed in poetic, fragmentary dreams. [Jul 2017, p.90]

Results vary, froma plodding, Kasbian-like 'Deeripper' to the charmingly labyrinthine 'Headdress,' which is so fresh it feels like the genuine article. [Jul 2009, p.96]

First new solo album for four years from the young jazz maverick.

Hood's vision for the band has always been cinematic--never more so than here, in fact--but by mid-album tracks such as "Get Downtown" and "After The Scene Dies," things are becoming sketchy.

[Nelson] moves effortlessly from pop country balladry to well-heated Western Swing. [Jul 2012, p.94]

OEH are a more intriguing venture when confident enough to aim for the universal. [Oct 2019, p.86]

Apart from the upbeat soul of Never Want To Be Kissed, featuring Stax veteran William bell on vocals, Set Sail stumbles and squints through its nine other tracks, although on Bumpin' they at least rouse themselves long enough to sound like Tony Joe White imitating Sly Stone. [Mar 2022, p.86]

An album that stalks the perpetual gloaming so wholeheartedly, you do rather wish for a ray of sunlight here and there. [Oct 2016, p.98]

Uneven but exceptionally inventive. [Sep 2005, p.92]

Right On! seesaws between spectral moments of introspection and bristling passages of electric activity. [Jan 2016, p.88]

[Her] supple vocal sounds are partly obscured here by loops and electronics or resonant layers of Eno'd guitars. [May 2021, p.88]

Sadly, there's a few too many tunes like (Girl We Got A) Good Thing--the sort of throwaway preppy drivel critics of Weezer think they sound like all the time--for this to sit alongside the band's classic work. [May 2016, p.90]

Although recognisably, and powerfully, the work of Explosions In The Sky this is now a band whose music undulates. [May 2016, p.92]

Finally, a grown-up album from the oldest kid at the party. [Apr 2015, p.92]

JRW's third has enough honky-tonk brio to merit comparison with Kings Of Leon. [Apr 2014, p.98]

There are enough off-kilter moments to stop complacency setting in. [Jul 2018, p.90]

Odd tracks recall Animal Collective, but these immersive 63 minutes mostly ripple with hallucinatory effect, overdubs virtually free of beats. [Sep 2017, p.92]

Wrangler's is a twitching, throbbing, mildly dystopian sound-world of vivid analogue synthesizer tones, overlaid with heavily processed vocals. [Jun 2014, p.96]

A Deeper Understanding is exhilarating in places, but perhaps inevitably, give n it's long and convoluted gestation, it can at times feel like it's trying too hard. [Sep 2017, p.90]