Musically slick but unpredictable, Only Revolutions is the stuff of stadia; a more obstreperous Foo Fighters; if you like. [Dec 2009, p. 92]

It leaves a prescribed set of more or less familiar songs, sequenced randomly with in some broad chronological parameters. [Jul 2010, p.108]

The Youth split their sound into four clear component parts: piano, drums, percussion and guitar-screes that separate out beautifully and merge grimily--just like the kids in the film itself. [May 2011, p.112]

This is a powerful performance of empathy and passion. [Feb 2012, p.99]

Kudos goes to the French Afrobeaters Fanga and Moroccan trance master Abdallah Guinea for finding a new spin on Fela Kuti's funk. [Feb 2013, p.89]

Possibly an album for Boz's benefit more than anyone else's. [Apr 2013, p.91]

Great late-night music. [Jul 2013, p.92]

If Not Now... goes a long way to pinpointing just why Marling, Ryan Adams and Ray LaMontagne, among others, keep calling on his services as both musician and producer. [Mar 2013, p.96]

the Krautrock gene that moulded 2012's brilliant debut Free Time! still dominates the album's early passages. [Sep 2013, p.88]

[Harcourt whets] our curiosity with this six-tracker which goes to the brink but never quite falls over the edge. [Feb 2014, p.96]

Her confidence as a performer is clear, as is her growth as a songwriter. [Mar 2014, p.93]

The result is a tender and engaging listen. [Aug 2014, p.93]

This largely autobiographical follow-up uses Guy's musician friends more wisely. [Oct 2015, p.91]

McKeown adopts a sophisticated take on 4/4 grooves: with Calumet's stuttering organic rhythms offering a confident and captivating example. [Sep 2015, p.93]

Strange and lovely. [Jan 2016, p.98]

The exceptional songs of Martin Henry are served by the trio's undemonstrative guitar, bass and drums being augmented by keyboards, glockenspiel and harp. [Feb 2016, p.91]

Malody might be uneasy listening but it's as brave as it is completely unexpected. [Jul 2016, p.90]

Ultimately, Future Echoes is a dark pop album, as joyful as it is unexpected. [Oct 2016, p.95]

A bruised, heartsore set. [Jan 2017, p.104]

When Crisci does expansive, with the six-minute Ode To The Pleiades, the tremor is sizeable, its rattlesnake beats sinking into jazz piano riffs and iridescent synth pads, [Apr 2017, p.97]

Baobab Tree's bossa nova sway, the title track's lounge vibes and Lo Mas Dulce's electro-Tropicalia weirdness impress. [Jul 2017, p.96]

The material and performances here are uniformly strong, affirming that Wright is now a recording artist of significant stature. [Nov 2017, p.98]

A feast of sonic juxtapositions, whimsical beats and massed vocal harmonies. [Jan 2018, p.94]

Thai guitar, Saharan rock give a focus and momentum; a groove underpinning the bracing freeform racket. [Apr 2018, p.96]

A near two-hour spiritual masterclass, recorded live at London's Church of Sound, that simultaneously enhances, enriches and expands. [Dec 2018, p.89]

It lacks the gargantuan personality and all-encompassing throaty bark of FU's leader Damian Abraham to give it a USP, but Falco, as frontman, does a decent job of stamping his own marker. [Jul 2020, p.84]

Good Luck, Seeker may not be the absolute best of Mike Scott's best, but it's well within touching distance. [Sep 2020, p.82]

It doesn't work when she wails and chants her way through the closing Sun, but she's absolutely fearless, as rigorous as The Moody Blues circa Days Of Future Passed and as adventurous as Can circa Future Days. [Jul 2020, p.82]