NeillyNeil has written the following articles:
Bland maturity pervades the album.»
On balance, it seems too early to write him off.»
For all the ability on show, Pizza Espresso basically feels half-arsed.»
A synth fantasia of dreamy soundscapes for the wakeful.»
A competently executed album that keeps your feet tapping and head nodding for as long as it lasts, but one that takes too few risks and bares too little soul to linger in the listener’s thoughts and emotions once it’s over.»
While it’s admirable that Kroft should seek to explore other avenues it’s rather unfortunate that he has chosen U2-style histrionics to fill the void.»
Despite the considerable technical talents of its creator, Blue Film could be by just about anyone.»
Animal Heart is too emotionally unengaging to leave you feeling like you know Nina Persson any better for it.»
Timeshare might be a little short on ideas, but there’s enough to suggest that Shy Girls might just be saving the best for that full-length debut. »
Transcending the overt familiarity of their influences with genuine emotional pull and good ol’ fashioned songcraft.»
The overarching impression Don’t Get Heavy gives of Fur Trade is one of all old strengths rediscovered and new strengths waiting to be fully realised. It’s a decent enough starting point.»
Perhaps with a little more nuance Empire of the Sun can exploit the potential of their partnership to be one of the most intriguing electro-pop duos around - but on Ice On the Dune that potential remains unrealised.»
Despite Marques Toliver's illustrious CV and unconventional route to the release of his first album, Land of CanAan proves to be a competent, but disappointingly conventional affair.»
You can only write so many hi-tempo, powerchord driven punk-pop songs before they all start blending into one in your consciousness.»
Depeche Mode’s biggest crime is that they're just a bit boring.»
The one indelible impression that The Messenger leaves you with is an obvious one – that Johnny Marr needs a foil.»
It's a shame Sophie Hunger spends so much time trying to be a cross between Sharon Van Etten and Norah Jones.»
For a record that expends so much energy it’s a very passive listen.»
Of the three bleak albums in Nico's late Sixties/early Seventies 'trilogy', The End…, reissued here with a second disc of live and Peel session takes, is perhaps the perfect compromise.»
I Know What Love Isn’t is a classy break-up record rather than just a classic one – reaffirming Jens Lekman as an inimitable talent, taking a great trope of pop music and making his most focussed album to date.»
No one concept album, even one with the complexity of America, could ever hope to fully address the manifold problems of the USA, but in searching for his own answers Dan Deacon has crafted an unique testament to this fact and to his own inimitable, and ever increasing, talents.»
CYRK II can’t help but display its studio leftover roots in the passages of bland jamming, but there’s enough of Cate Le Bon’s virtues underpinning the EP to still recommend it.»
At least, unlike recent lad-rock casualties The Enemy, The View possess a certain degree of musical competence.»
In covering just three to four years of Lee Hazlewood's less readily available material The LHI Years mines a rich seam of individualistic pop genius, even the rump of which betters that found within the entire back catalogue of many artists.»
Take a few steps back from the bustling mosaic arrangements and we basically have a less expertly executed Mylo Xyloto.»
There's meaning to be sought for by the listener in Luke Roberts' songs, but they simply aren't inviting enough that you'll want to open up the gates and step inside.»
The risks that Damien Jurado and producer Richard Swift take on Maraqopa are small and subtle adjustments to those already made on Saint Bartlett, but they are small steps which reap exquisite rewards for the listener. »
One for the diehards and the more curious latecomers who want to hear Pulp when they were outsiders amongst outsiders.»
This week sees of Montreal release their eleventh studio album - Paralytic Stalks - and one that marks a distinct change in direction away from the kaleidoscopic schizophrenic funk of recent albums towards what our Andrzej Lukowski describes as lengthy, v»
