A humane and typically eclectic affair with winning flashes of eccentricity. [Aug 2017, p.92]

For all its grace and subtlety, this is a vigorous, life-affirming record. [Jul 2016, p.90]

Writing her way into a new persona, our heroine emerges as a badass punk with attitude and cutely clever lyrics. [Sep 2020, p.87]

In pursuing the anarchic, joyous mash-up of their debut Remedy to its twisted conclusion, Basement Jaxx find themselves in androgynous, genre-bending territory that is Prince-ly in spirit even when it isn’t in sound.

It really is incredibly good, even if sometimes it's hard to feel you're hearing the real Jolie and not a character she's adopted. [Jun 2004, p.110]

Overall, Love, Loss, And Auto-Tuned is a deviant masterpiece. [Oct 2018, p.92]

These 11 songs sound like they've been here forever. [Jan 2022, p.82]

The absolute highlight is Dion's magnificently assured live performance of his own King Of The New York Streets. .... New York Minute stands out, with its overt nods to Dion's late-1950s doo wop sides. [Jan 2026, p.89]

Ocean Child achieves its aim - emphasising the vibrant depth of Yoko Ono's (approximately) infinite universe. [Apr 2022, p.83]

A soaring Here In Spirit joins reincarnation musing Who Am I? at the pinnacle of its daft-genius. [Jan 2020, p.92]

Another hip-rolling, dabke masterclass. [Jan 2020, p.92]

A tear-stained, yet tasteful, requiem. [Feb 2006, p.93]

Not a bad song on the album. [Oct 2013, p.96]

This time the music is as rich and detailed as [Finn's] wordplay. [Feb 2007, p.100]

Thrilling third from the ex-Headcoatee's duo. [May 2010, p. 93]

It's all wonderful stuff here. [Dec 2012, p.85]

Theatrical swishes of piano, mellotron, guitars and percussion back her powerful, red velvet voice. [Feb 2016, p.98]

This short but sweet EP is her love letter to the Lone Star state. [Mar 2017, p.93]

This is a shape-shifting beast, its classic pop sensibilities leavened with occasional samples or stretched into epic, groove-based jams. [Apr 2007, p.96]

Sixteen short, sharp blasts of garage pop, Castlemania addles Dwyer's catchy, wryly dippy ditties with mind-melding mellotron blasts and acid-fried clarinet and flute additions. [Aug. 2011, p. 96]

A gimlet glare cast not downwards but right between your eyes. [Mar 2020, p.107]

Turnbull readily unleashes his inner thespian but he's got playful pop-song chops, making A Hound At The Helm something of a post-modern glam trip that's far too good to be neglected a second time. [Jan 2015, p.94]

Throughout the album's crisp 10-track sequence, this reconfigured band are clearly once again enjoying the fruits of the unfathomable confluence of life and art. [Apr 2016, p.87]

Ultimately, Innerstanding finds Harrison marking out his own territory, sustaining a brooding musical atmosphere and filling it with sterling melodies. [Jan 2024, p.88]

The vigorous, often zippy arrangements finessed at guitarist Jonathan Pearce's Auckland home studio offer chipper contrast to the subject matter, Stokes a thoughtful, knowing presence. [Oct 2022, p.89]

Admirably obtuse, Slug put the odd into prog odyssey with style. [Jun 2018, p.93]

She immediately impresses with a solid version of Wanda Jackson's Funnel Of Love, then moves on to deliver a brace of Patsy Cline classics that stand the comparison test, before with the aid of Vince Gill, whooping it up on You're The Reason Our Kids Are Ugly. [Jun 2016, p.94]

A misbegotten romance plays out across the album in disturbing, always enthralling fashion. [Jul 2018, p.98]