Mostly she's clever, soulful, sexy, and only a gram of venturesomeness short of her early best. [Apr 2014, p.90]

The remarkably unhurried, hermetic vibe of her intimate chamber-folk remains unchanged. [Jan 2022, p.89]

Intimate, ambitious and just occasionally misfiring. [Oct 2023, p.82]

Mozzer [is] in excellent voice. [May 2005, p.96]

So, was Tony Bennett exaggerating when he called lang, "the best singer of her generation"? Yes, but on this form only a little. [May 2011, p.114]

Another Day, another faff-free, one-session-apiece exercise in succinctness, for a sixth long-player which presents Fucked Up as a more highly evolved version of their old selves – dense, intense and to-the-point. [Sep 2024, p.88]

Fabulous. [Jun 2009, p.98]

There's a layer of gloss and artfulness here that makes Carry On more appealing than whiskery ideas of authenticity. [Jan 2013, p.88]

Some of Herbert's most engaging work since 2001's Bodily Functions. [Jul 2015, p.91]

Concise, understated alt rock with cryptic, literate lyrics. [Mar 2016, p.100]

Discs two and three mostly consist of unedited or alternate takes of material on the main disc. A full-length Transylvania Boogie, previously released in edited form, turns out to have been mostly a long, meandering shuffle with a drum solo. Hitherto undocumented titles Halos And Arrows and Moldred turn out to be, respectively, an exploratory guitar overdub piece (all that’s missing is Joni Mitchell at the mike) and a brief Tommy/Vincent composite with added bass. [Aug 2023, p.90]

His most honest, touching album yet. [Dec 2006, p.118]

Remorselessly absorbing debut from stars in waiting on dub-step's Def Jam. [Dec. 2010, p. 107]

[It's Alright Between Us as It Is] finds the Stavanger native matching more vocals to his grandiose productions. [Nov 2017, p.99]

The result is a dreamlike state of unease and wonder, in which you don't know where you are, or what's coming next. [Aug 2018, p.94]

A worthy, determined salvo. [Jul 2006, p.102]

A piquant appetizer for the impending movie re-boot then, and a balm to those who still wake up screaming because of Stallone's 1995 film. [Jun 2012, p.82]

Far from the title's implied despair, Wit's End sounds more like home, sweet home. [May 2011, p.111]

The Jeff Buckleyesque epic 'Larkspur' and the desolately pretty 'It Hits Deeper' raise the bar for sensitive creatives everywhere. [May 2009, p.103]

This colourful fruit ain't rotting yet. [May 2013, p.90]

It's the breadth of styles subsumed within and the impressively high quality-control throughout that makes The Child Of Lov such an assured and rewarding debut. [Jun 2013, p.84]

Bare acoustic tracks with fuller band on upbeat tunes all sung in pleasing, husky tones. [Oct 2013, p.98]

Perversely, however, amid the overbearing production values, it's that grizzled, needling voice that keeps matters connected to the street, where Little Steven's heart truly belongs. [Aug 2017, p.95]

A debut solo album of such synth-streaked electronic sleaze and shimmer that it kicks Goldfrapp and Gary Numan into the bleachers. [Jan 2018, p.90]

Hubbert's ornate acoustic fingerpicking and flamenco flourishes are an ideal foil for Moffat's un-showy storytelling skills. [Jan 2019, p.92]

Not the pinnacle of his varied career, maybe, but not a low, either [Feb 2023, p.82]

A release that impresses throughout. [Nov 2011, p.99]

Face Tat is less free-form than Astrological Straits, 2008's exhilarating, exhausting debut, but it's still a full 15 rounds of aural boxing. [Feb 2011, p.100]