“As kick drums start to pound the senses and the walls close in, you realise that you left whatever you perceived as your reality (to be) someway up or down the rabbit hole. “
Stereophonics – Word Gets Around review
“Kelly Jones character sketch obsession with the real is almost classicist and always relevant, never more so than on opener A Thousand Trees.”
The Weeknd – Thursday
“Tesfaye has previously cameo’d as a kind of Stringer Bell character, a despicable thug-misognyst with an unspecified higher intellectual calling that demands redemption.”
The Middle East – I Want That You Are Always Happy
“Gradually light begins to separate from black night; Land Of The Bloody Unknown picks the bones from an ethereal banjo, whilst Hunger Song is a piece of strident hoe-down on which the eight piece remind us that cowboys didn’t just come from Montana.”
Glasvegas – Glasvegas
“Allan becomes the subject of his songs so totally, he absorbs them in a form of method acting that is an instinct that can’t be taught.”
Scritti Politti – Cupid & Psyche ’85 review
“Was this merely pop as a meaningless science project with no more merit than pulling the legs off a hapless spider?”
CJ Bolland – The Analogue Theatre review
“Bombarding the listener with pristine, bloody wake and sub-bass, it seemed designed specifically to be consumed amongst a crowd of three thousand wide-eyed, sweat soaked people on the verge of blitzkreig’d emotional and spiritual exhaustion.”
The Cribs – Men’s Needs, Women’s Needs, Whatever review
“At times, it’s breathless and brilliant, from the screeching, larynx grating Men’s Needs to the Strokes-with-a-purpose of Major’s Tilting Victory”
The Killers – Sam’s Town
“Sam’s Town bore testament that singer Brandon Flowers had a new muse – the vast, bombastic, wrong, epic vista of his own country.”
Happy Mondays – Bummed review
“It’s the sound of drugs, work-hating lethargy, nefariousness with no direct victim and a life on the trainered hoof that required fingers in lots of dirty, dirty pies.”
The Voice Of Unreason 