It sags a little mid-show, during the numerous elongated versions of 45:33, but epic, celebratory readings of Losing My Edge and Yeah (Crass Version) are not to be missed. [Jul 2014, p.90]

It's not the easiest to digest in one sitting, but its languorous, tripy/hippy cocktail is refreshingly unique. [Jul 2017, p.91]

Gravity Stairs is the most Crowded House thing that Crowded House have made in 30 years. [Jul 2024, p.90]

The melodies are sunny, but Red Kite glimpses the brilliant glare of summer through a morning fog which stubbornly refuses to clear. [Aug 2015, p.94]

The music still mainly tilts around their Coil-Anohni Axis. ... As always with Xiu Xiu, though, it's a lot, two heads just as intense as one. [May 2021, p.85]

Big God runs up and down a subtler emotional scale, while the heartfelt Hunger emphasises Welch's admirable desire to connect. Yet High As Hope often feels like The Greatest Showman for people of drinking age, This Is Me for art students--an affirmation, not a challenge. [Aug 2018, p.88]

Ryan's predilection for Wilsonesque harmonies, glokenspiel, etc, erupts into twinkly fairytale pop that's bold and forward-looking in equal measure. [Mar 2008, p.113]

If it's not immediately obvious what such vaunted DJs see in Souleyman, Legowelt's remix of the title track spells out the floor-filling qualities. [Aug 2015, p.91]

[An] underwhelming collection of moderately sweeping, mildly elegant arena pop. [Jun 2006, p.108]

[An] equally engaged, energised follow-up [to 2010's Mshini Wam].[Apr 2012, p.94]

This time out, the melodic knack is as assured and the tumbling songs recognisably hers, but she's found her own path. [May 2012, p.87]

The playing is terrific throughout... [Jan 2001, p.98]

At its best, Pole's new sound is winning. [May 2003, p.98]

A satisfying, and often very moving, body of work. [Dec 2001, p.100]

He is, if anything, singing better than ever. [Dec 2003, p.104]

Two fine records without a duff track between them. [Oct 2009, p.98]

While White Wilderness lacks the edge of Emerald City it's an inspired set of songs decorated by Minna Choi's imaginative orchestrations. [Apr 2011, p.101]

The result is an unexpected throwback to the pop noir of Foxx's 1980 debut Metamatic. [Apr 2011, p.104]

We're on such familiar territory here that Wildfire is as much homage as innovation. [Oct 2011, p.105]

Like Eddi Reader's Sings the Songs Of Robert Burns, this is bard bigging-up of note. [Oct 2011, p.97]

Impressive, entertaining - a new supergroup is born. [Aug. 2011, p. 101]

In 10 crisp, playful songs restores the exalted standards of the band's legend. [Dec. 2011, p.93]

Sweet, shimmering, Swedish alt-pop. [April 2012, p.91]

Their ability to switch up styles at will can prove a little wearing, giving an uneven feel to an otherwise startling debut. [May 2012, p.83]

[The album includes] a stomping version of Elmore James's Rollin' And Tumblin' and a long and not wholly convincing reading of Stevie Wonder's Uptight. [Sep 2012, p.90]

Gardner's sincerity, dexterity and lightness of touch raises this above a simple genre exercise. [May 2013, p.87]

JBM has concocted a glorious half-dream of a third album. [Aug 2013, p.93]

As things are, it's an above-par, straight-ahead roots-revival collection, its full-blown "outernational" arrangements lit up by world-class brass and occasional splashes ofsynth. [Aug 2013, p.86]