A third Rick Rubin-produced album -- cover versions but the comeback continues. [Jan. 2011, p. 97]

It feels doubly elegiac, a mood best caught by Nick Cave's tremendous Cosmic Dancer. Even so, there's fun to be had. [Oct 2020, p.86]

This album delivers rather less than the hoped-for thrilling mix of Latin rhythms, scorching organ and lyrical blues-mariachi guitar solos, but does so in bulk. [Jul 2016, p.96]

The album's substantial rewards lie in the unorthodox rhythms of drummer Matt Tong. [Mar 2007, p.102]

Takes the most accessible aspects of the house-soaked, pre-Britpop scene and crafts a swaggering debut that places songwriting suss firmly above pointless posturing. [Oct 2004, p.97]

Song titles like Soothe My Soul and The Child Inside suggest phoned-in conventionality, but there are edgy moments here. [May 2013, p.85]

A sameness about these developments diminishes the album's appeal, but given a presence in the ether, airwaves, clouds and such, the Pierces' obsession could become addictive. [Jul 2011, p.114]

When it works, it's astonishing, but his hit rate is middling compared with erstwhile sparring partner El-P. [Aug 2012, p.90]

On stand-out New Tracks, singer Joseph Arthur locates a pleasing interface that shades powerpop and balladry. [Jan 2013, p.102]

Pierced Arrow's 10 tracks range from strutting, power-chord anthems and barroom boogies to riff-driven shuffles. [Jun 2016, p.91]

On the minus side, The False Foundation lacks an overarching character, so plays out like a soundtrack or compilation. [Nov 2016, p.89]

His solos still dazzle and the riff to Notches could move mountains, but too much of Time Clocks suggests Bonamassa by numbers. [Dec 2021, p.91]

BP retain a youthful fixation with personal drama, biting lyrics and angular guitars, laced with keyboards. [Jun 2022, p.94]

Hooks and choruses still pour out of White Lies, but there's a lack of cohesion that stops Night Light blazing quite as it should. [Dec 2025, p.81]

It's impressive stuff. [Jan 2003, p.100]

Public Enemy are still making music of great substance and potency. [Dec 2002, p.122]

An achingly sharp comedy album then, but at 19 tracks it's to be admired rather than loved. [Jul 2009, p.92]

The result is a low-key mist of strings, piano, percussion and electronics. [Jun 2012, p.87]

By shedding some of their rock'n'roll excess, though, it feels as if Primal Scream finally have some idea of what they want to be when they grow up. [Apr 2016, p.90]

They fare best on delicate, forlorn ballads like Walk The Backstairs Quiet and Epping Forest--tales of suburban longing which are brave enough to include some quite splendid guitar solos. [Jun 2011, p100]

Underpowered covers... confirm the impression of a high-octane artist tired out and running on empty. [Dec 2005, p.105]

This is more than a nostalgia trip. [Apr 2005, p.102]

There is genius in here... [but] Shangri-La does sometimes drift into lazily delivered Knopfler history lessons. [Nov 2004, p.96]

Eclectic as it is, Weatherhouse is largely convincing evidence of a singular voice being belatedly found. [Nov 2014, p.99]

The wiry Dubliner is stealthily building a similarly indelible songbook. [Feb 2016, p.92]

Nervy, fragile set. [Feb 2018, p.99]

Lyrics are lovably askew and songs rarely breach three-minutes. In conclusion: more is still more. [Mar 2019, p.99]

The NYC three-piece are a band playing to their strengths. [Feb 2009, p.113]

For the most part Empire is every bit as powerful as its title suggests. [Oct 2006, p.96]

Here nothing has changed as she melds all these influences ub a tribute to her now beloved New York. [Dec 2008, p. 100]

Although the album is marred by its over-consistent tone, almost any one of these songs taken in isolation--played of the closing credits of The Sopranos, say--would rightfully be hailed as a lost classic. [May 2007, p.118]

The odd over ethereal moment notwithstanding, the remainder of the album proves equally alluring. [Jan 2013, p.90]

An impressive debut that crackles with vitality. [May 2011, p.112]

In short, a bafflingly sequenced and rather unlovable record. [Apr 2013, p.91]

At best, Oye and Boe capture loniness in a saue way and both are wonderfully fluid guitarists. But they can also be overly precious. [Nov 2009, p.92]

A sounding board for confessionals too heroically wonky to be dull. [Mar 2013, p.86]

Nothing sounds quite as expected. [Nov 2002, p.108]

Jones admits a queasy air of self-congratulation to her third album of jazzified covers.

Chopper blades and police sirens pepper the album; indeed, shorn of this angsty hum, the by turns pastoral and metallic instrumental tracks pale. [Apr 2004, p.106]

It's a doleful piece, with many trad Moby elements present. [Jul 2009, p.94]

If his lyrics do have merit Chabot obscures them with generic electro-riffs. [Aug 2009, p.98]

The twinkling, chaotic, looped intensity of All Graphs Explored is typical of Larry Gus's individual and highly charismatic approach. [Nov 2015, p.89]

While an absorbing listen in their original form these largely uncluttered canvasses also present an opportunity for further remodeling bounded only by the imaginations of those ready and willing to pick up the gauntlet. [Jan 2015, p.97]

The shared predilection for sub-Saharan styles is implicit, if not obscure, across Let It Be You's 10, expansively produced essays. [Nov 2016, p.89]

Van delves deep to breathe new life into some relatively lesser-known gems ranging from 1974’s Streets Of Arklow (from Veedon Fleece) to Get On With The Show (What’s Wrong With This Picture?, 2003), rejuvenating them with persuasive soul and passion.

Full of warmth, humour and depth. [Feb 2020, p.86]

She keeps the mood focused and the music softly funky. [Mar 2005, p.92]

Few, if any of 2009's more high profile rock releases could match the adrenalin charge of Death's 34 year-old debut. [Mar 2011, p.114]

Earth-shattering breakbeats take a backseat to slicker, smoother, jazzier efforts and broad-brush over-emoting for much of its ponderous second half. [Jul 2017, p.91]

Brooklyn collective with ex-Le Tigre members party like its 2003. [Feb. 2011, p. 107]

This is Coldplay getting in, delivering the tune, getting out, influenced by the discipline of cutting-edge R&B but still capable of testing arena acoustics with some supermassive bluster, glitterball lustre and classic Buckland glide'n'twiddle. [Dec 2011, p.46]

Overlong, but Chocolate Factory is an impressively varied opus. [May 2003, p.100]

Erick Sermon and Parrish Smith may not make as many dollars these days, but they still have a winning way with their slouching, filthy funk. [Feb 2009, p.109]

Kicks may take its leads from The Rolling Stones, David Bowie and Orange Juice but these songs about Glasgow and girls still manage to invest the skinny-tie shuffle with some fresh contemporary verve. [Apr 2009, p.98]

Digi Snacks is pleasingly lean on fillers , and finds RZA again at his peak as a producer, effortlessly balancing the slow burn bangers wirh tracks of soulful uplit. [Sep 2008, p.110]

The cosy and intimate songs, sung in the disarming, high-pitched tenor so admired by Sufjan Stevens, are pleasant enough, but it isn't until the Cajun-tinged shuffle of Ophelia and late-night bar lament You Belong To Heaven that it gels. [Sep 2011, p.95]

Kiss & Tell, although superbly polished and instrumentally powerful, suffers from a claustrophobic sheen. [Aug 2004, p.99]

Trio from Whittier, south-east Los Angeles, make debut on Britney's label. [Feb. 2011, p. 101]

The sound's good and getting better - a wig-out of surf rock, Stooges-style punk and hardcore thrash, with the occasional Bambi noise of 1960's folk peeping round a tree. [Aug. 2011, p. 106]

On her fourth album, Melua does her damnedest to break out of her self-imposed schmaltz trap. [Jun 2010, p.94]

Highly politicised, yet leavened with deft vocal harmony and potent melodies, the album drips with passion and thoughtfully targeted ire. [Oct 2007, p. 90]

The veteran's authoritive amber croon and psychedelicised, occassionally spectacular axework imbue this mid-tempo set with a grace and economy often lacking in the genre. [Apr 2009, p.107]

The simpler numbers--sun-dappled Dust On The Dancefloor, sweet love ballad Our Hearts Burn Like Damp Matches--are much better. [Jun 2011, p.100]

Although this change of surroundings gives the album an uneven feel, the charm of Gideon's Art Brut-like spoken-word missives is ever present, as is their sense of Dadist fun. [Feb 2013, p.90]

Laurent-Marke's facility for pleasant minor-key ruminations remain her strong suit, but the "stillness" of which she speaks all too often sounds like a stifling lack of urgency. [May 2013, p.85]

While there's nothing here to touch 1999's moving, Cinemascopic downtempo classic Les Nuits, it's an eclectic offering, deliberately in keeping with the Balearic paradigm Evelyn once helped shape. [Oct 2013, p.91]

It's astonishing how lyrical just two guitars can be. [May 2014, p.94]

Gong carry on with positive absurdist elevation via psychedelic jazz rock. [Oct 2016, p.100]

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]

The real star is Kingston MC Racquel Jones. [Apr 2017, p.99]

If there isn't a great leap forward, there is progression on assorted fronts, so The Best Is Yet To Come embraces all-out rock, but Scared Of Love suggests acoustic ballads could be an alternative way ahead. [Sep 2023, p.88]

Rodgers wears his now mellower, less macho persona well on Coming Home and Photo Shooter, but the writing input of an Andy Fraser or a Mick Ralphs, say, is sometimes missed. [Nov 2023, p.86]

Klang is a step in the right direction. [May 2009, p.69]

On subsequent listens how little else there is going on becomes perversely thrilling, especially in the car. [Jan 2018, p.91]

This would be a strong set if they culled three tracks, shortened a few others and rearranged the sequencing. As it is, this record suffers from a distinct mid-album crisis. [Dec 2006, p.103]

Paul proves this production pioneer can still turn in brilliant beats when he wants to. [Jul 2003, p.106]

Better records lie in their future, doubtless, but this is a very promising, very charming glimmer. [May 2004, p.104]

A supercharged, hook-heavy pop-metal attack that impresses but rarely convinces. [Oct 2017, p.98]

More than a curiosity. [Jan 2006, p.131]

Lights does have its moments: the strident "Uner The Sheets" and the odd sounds of the Frankmusik-produced "Wish I stayed" stand Out. But when they're placed next to the overwrought, cliched ballad "The Writer" or the dodgy Europop of "I'll Hold My Breath" it adds up to a rather bland listen. [Apr 2010, p.92]

Dogged by sub-standard productions and uneasy alliances, it's left to the RZA and Madlib's younger brother Oh No to partially save his bacon. [Jun 2013, p.89]

Sadly, there's little to propel them to radio ubiquity or challenge the Britrock big hitters, but then, maybe, that's the whole point. [Mar 2007, p.95]

Soul is only as good as its rhythm section and Drive-By Truckers are just not up to the job, obliterating subtle originals and OutKast and Tom Waits covers with bashing, crashing drums and plodding bass. A missed opportunity. [May 2009, p.97]

It makes a terrific album, stronger than Interpol's last two, with enough detail in the arrangement to separate Banks and his day job. [Nov 2012, p.95]

This follow-up to The Aliens' debut "Astronomy For Dogs" keeps the faith. [Oct 2008, p.109]

Ultimately, in a sea of indentikit singer-songwriters, Sproule's willingness to push just a little bit further counts far more in her favour than against it. [Jun 2011, p. 102]

The Straight Hits! is front-loaded with positivist rockers, but these are ramshackle. ... The second half mercifully reverts to Pearson's true calling as a funereal balladeer; even then, the transition's too jarring to cohere to the conceptual/titular framework. [May 2018, p.90]

Sex Change continues their move away from arena bombast towards streamlined Euro grooves. [Mar 2007, p.103]

Half existential joy'n'emptiness, half just empty. [Oct 2002, p.96]

A perpetual guilty pleasure. [Jun 2004, p.107]

Kurt Cobain-worshipped Glaswegians' break 20-year silence. [Oct. 2010, p. 92]

Take The Crown plays it safe. [Dec 2012, p.85]

[Bridges] convincingly inhabits a batch of mostly self-penned story songs that radiate a weary gravitas and wry existentialism. [Oct 2011, p.96]

The spell of this balmy Southern atmosphere is only broken when Presley drops the ball on the writing front... but otherwise this is an elegant, beautifully realised work. [Jul 2012, p.88]

Fade-outs on six of the songs suggest a studio-jam approach that works well, but some of the best tracks are the ones that shirk blues idioms. [Aug 2014, p.90]

Corgan's ear for pop-hooks is keen throughout, but save for Knights Of Malta, with its piano, strings and backwards lead guitars, the music on Shiny And Oh So Bright... seems a tad under-imagined for its portentous title. [Dec 2018, p.84]

Lee is so commanding that guests Lucinda Williams and Willie Nelson are drawn into top-of-the-range duets and still don't take over. [Feb 2011, p.96]

Adam Lee Miller and Nicola Kuperus have used a familiar creative trope--the artist in residence... Fittingly, Nitzer Ebb's Douglas J. McCarthy, whose own dislocated, radical electronica feels like an overt influence. [Apr 2017, p.97]