These songs move so languidly they seem self-pitying. [July 2002, p.104]

If The Rapture haven't quite transcended their influences yet, they are at least making a thrilling, febrile noise on the way. [Sep 2003, p.106]

This sort of works, but clearly their obsession lies with the lyrics. [Sep 2008, p.106]

As usual, it mixes vintage country, soul and R&B. Be cool, however, listen on, and it comes together. [Oct 2011, p.106]

A beautiful, eerie thing. [Apr 2012, p.95]

Paley's voice is a little frail but it's true, and his picking skills are as finely honed as when he gave lesson to the young Ry Cooder and Jerry Garcia. [Oct 2012, p.90]

An almost perfect Sunday-morning album that's hard not to praise with only the faintest of damns. [Dec 2012, p.94]

With Ulrich Schnauss's ambient touches adding extra depth to the mix, it's the sound of a belated coming of age. [Sep 2014, p.96]

It's an engaging, sometimes beautiful step forward. [Apr 2015, p.92]

It is no ragbag collection, even if several tunes are little more than snippets. [May 2015, p.92]

Untethered Moon leaves no doubt these guys are on fine form again. [Aug 2015, p.95]

By opening out his vocals slightly from the gruff mutter of yore, Ashworth has extended his music's emotional range to that of a battery-powered Kris Kristofferson. [Sep 2015, p.94]

Live albums often disappoint but this one doesn't. [Jan 2017, p.101]

Annual waft of immersive drones, synthscaped romance, glassy yogic remixes. [Feb 2017, p.99]

Tiersen's lavish melodic gifts resonate loudest without the bangs and whistles. Glass-like repetitions of Templehof and Prad exerting a heartfelt tug.[Mar 2019, p.97]

It resets her musical dial by abandoning the borderline Nick Cave-isms of Welcome... to amp up the rock dynamism which first won her attention.[Mar 2019, p.92]

Hearing the acoustic demo for In The Heat Of The Morning, you have to feel for Bowie. Without the fussy grooviness of the studio version, it finds him in revelatory, limbering-up-for-Ziggy mode. ... The most significant discovery is Goodbye 3d (Threepenny) Joe ... soft-voiced and 12-stringy, it's a tail-between-the-legs yarn with choruses sung with a hard-boiled intimacy worthy of John Lennon. [May 2019, p.103]

The synths are generally leaner and the production darker, while guitars butt in for the grungy turmoil of Bitch and Mary Magdalene. [Jul 2019, p.86]

Apocalypse rears its head in bare-bones instrumentation, reverberating synths and lyrics that hunt for a meaningful future. [Nov 2019, p.89]

Fogerty remains a force of nature who matches Mick Jagger and Paul McCartney in his commitment to energising nostalgia, his shows less living jukebox than soul-stirring communion. [Feb 2020, p.86]

As restless and fidgety as ever. [Feb 2020, p.91]

It's Wobble's unmistakable geometric bass patterns which anchor these 11 collaborative tracks. [Apr 2020, p.89]

The uniting factor, though, is Gabriel's greatest gift as a writer, vocalist and arranger. [Aug 2020, p.101]

There may be a couple too many mid-tempo chugs among Phantom Birds' 13 tracks, but Berry has a knack for lyrics that pick away at self-doubt and brave public faces. [Nov 2020, p.86]

lightning Boogie is as unimaginative as its title, but when they calm down In This Lifetime, they twinkle. [May 2022, p.94]

A saucer-eyed treat. [Apr 2022, p.84]

11 searching, beautifully rendered songs which rhythm section Jay Bellerose and Jennifer Condos finesse with artful subtlety. [Jul 2022, p.91]

Their ongoing Heavy Rocks series plays things relatively straight, however, restricting their palette to metallic tones. Even so, this third volume rewrites the rulebook. An opening brace of tunes gallop like vintage Motorhead, if they were being chased by wild banshee saxophones. [Oct 2022, p.90]