An intense, trip-hoppy and orchestral examination of love in all its forms. [Dec 2020, p.88]

La Havas sets herself apart from the coffee shop set with a rough-hewn edge. [Aug 2012, p.92]

It's a free-wheeling surge of glitchy beats and fizzing, ravey energy, with the wobbly UK garage underpinnings of Echo Party a notable standout. [Oct 2022, p.86]

An album that values discreet whimsy over Wicker Man portent, it succeeds on its own puckish terms. [Sep 2007, p.109]

Intriguer may be more route one than 1993's mighty, loose-limbed "Together Alone," but it is classic Crowded House, and greater for it. [Jul 2010, p.97]

The definitive elements of this bijou gem are the author's own. [Dec 2015, p.86]

[A] blissful orchestral new age soundscapes, to suggest lapping waves on late summer beaches with just the occasional cloud of gloomy dissonance to add to that authentic 2016 holiday experience. [Nov 2016, p.91]

Dense of riff and melody but not crassly anthemic, their sledgehammer euphoria is Kyuss gone monster trucking. [Dec 2010, p.97]

There is a slight trophy cupboard quality to Ronson's accumulation of contributors but the conception, if not the feeling, is impeccable as ever. [Jul 2019, p.93]

Suggests a majestic, exquisitely desolate mix of Isis and My Bloody Valentine.[Aug. 2011, p. 106]

When the jokes stop... the relentless cantering pace and slightly predictable pedal steel accoutrements that characterise the bulk of the material here can struggle to hold your attention. [Mar 2006, p.92]

Mellencamp croaks a sequence of raw, all but nihilistic yet far from self-pitying first-person tales about, well, death mainly, leavened by the odd rather forlorn reference to the life, love and freedom elements of the title. [Nov 2008, p.111]

As lush, escapist pop, Waiting On A Song is a triumph. [Jul 2017, p.90]

Disillusion and disappointment have become fuel for creation, not self-immolation; second-guessing has been replaced by first-hand emotion. ... For the first time in a while -- that The Strokes shouldn't be gearing up for goodbye. [May 2020, p.86]

This is one heck of a wild and beautiful ride. [Apr 2015, p.89]

This is an exciting second act, tempered by the occasionally predictable moment. [Oct 2014, p.87]

Greater prominence to the duo's quavering vocals, though, isn't quite as satisfying. In the long term, more jam and less song might just be their best strategy. [May 2019, p.95]

It's pleasant enough, it hardly transcendent, and feels--whisper it--ever so slightly old fashioned. [Feb 2017, p.95]

A stopgap isn't quite what The Hold Steady need right now, but as a holding exercise it's hard to fault. [Sep 2019, p.89]

Kaleidoscopic yet reassuringly familiar to '80s indie fans. [Apr 2015, p.98]

It's Numbers that punches hardest, it's compassionate message about the futility of measuring ourselves against others deftly handled. [Apr 2021, p.86]

This extended family Sunn))))/Boris supergroup opt for cross-referenced influences. [Apr 2013, p.98]

There's a wit, charisma and individuality at play that lends teeth to Rilo Kiley's tasteful alt country/indie-rock sound. [Mar 2005, p.104]

It is his most facinating, and bewildering, record to date. [Jan 2008, p.104]

Not Pet Shop Boys in highest definition, Hotspot still provides a vivid panorama of their world. [Mar 2020, p.86]

He's got the lovesick blues, but his offering are not of the Hank Williams kind rather they are pages ripped from a personal diary. This could all add up to something of a drag were it not for Stamey's ability to tug at the heart-strings. [Mar 2013, p.87]

While Rock Or Bust doesn't come close to that benchmark [1980's Back In Black], nor does it disgrace Young's legacy. [Jan 2015, p.95]

The thrilling sound of these enthused new voyagers is equal parts sweetness and butchery. [Aug 2014, p.94]