Stephanie Tell, Journalist

Though commendable for his DIY attitude and coherent vision, Cummings' solid, stripped-back compositions would see improvement with more formal production.

Panama's short-but-sweet second EP embraces a thoroughly positive attitude across its three, varied electro-pop tracks.

Julia draws on the overused whimsical forest animal aesthetic of indie-pop du jour, but occasionally reinvents it in a way that really shines.

Walkabout Johnnie wavers between attempted edginess (with oh-so sneaky marijuana references) and sanitised pop.

Comprising a solid, wholly retro, rockabilly sound, The ReChords don’t re-jig or adapt the genre, feeding on nostalgia rather than innovation.

Squealing With The Mice features a stronger climax that adds to the success of the track’s jangly, pop sensibilities, while I Was A Stranger perfectly carries off the outfit’s softly arranged, relaxing style of folk, best suited for lazy summer afternoons.

The last of three unnecessary live tracks, the ten inexcusable, repetitive minutes of Find Me A Lady are the last straw.

Without much guitar support to add colour or vibrancy, Blow It Up’s climax falls flat and feels monotonous.

Ryan Downey's captivatingly dark, baritone voice immediately strikes you, enhanced by moody, Western-style instrumentation in opener, The One.

This extensive but predominantly grave offering floats between folk, indie pop and country genres; at times distinctly operatic and at others, jangly.