Finds them fine-tuning their class act, Dickon Hinchcliffe's choice string arrangements underpinning a typically careworn set. [Jul 2003, p.107]

[Audioslave] display[s] a welcome lightness of touch. [Jul 2005, p.96]

This album has plenty of ideas and plenty of 'moments.' [Jan 2003, p.92]

Ten years from now, someone will stumble across this in a thift shop, buy on a whim and be thrilled. [Sep 2002, p.96]

All BRMC really have in common with The Strokes is hype and haircuts, but their music lives up to both. [Feb 2002, p.92]

Finally, Embrace deliver a poignant and prolonged rush of blood to the head. [Oct 2004, p.116]

Transistor Radio's songs do lack the shirtfront-clenching grip of Ward's Transfiguration of Vincent set. But shapeless and misty atmospherics have their shadowy power too. [Mar 2005, p.92]

Marks a major leap along the road to recovery. [Nov 2004, p.96]

With greater degrees of deliberate construction than Mers De Noms, Thirteenth Step is more cohesive band effort, less ad hoc side project. [Nov 2003, p.132]

[A] dazzling selection of pop songs. [Aug 2005, p.96]

The longer the album runs the more engaging the songs seem to become. [May 2004, p.104]

Reveals another eclectic, kaleidoscopic world. [May 2005, p.106]

Listening to Bob Wratten is as necessary as a good cry. [Jan 2002, p.91]

Motion Sickness won't convert the uninitiated, but offers subtle craftsmanship and deft musicianship. [Feb 2006, p.95]

Thematically thin and, consequently, lyrically disappointing. [Jan 2004, p.96]

Canadian duo's smooth blend of yacht rock, disco, Rick James funk and late-90s French house with lyrics that aim to pastiche modern R&B tropes. [Jun 2014, p.98]

Nothing here will change your life, but rest assured that there's also little in the way of filler. (Oct 2000, p.104)

While there are moments that grate, this is an assured first outing that suggests that Brad and his band are worth keeping a keen eye on. [Jul 2012, p.83]

This sad skewed pop with shades of Momus, Sakamoto, L. pierre and Bjork weaves its magic on the fluttering yet forthright Salty, vocal tapestry of Come Behind Me, So Good! and raw emoting of Meo, but palls a little before its haunting apex on spaced-out sign-off Coyote, with spectral echoes of Kazu's complicated past. [Oct 2019, p.86]

Lavish second release from Welsh synth-pop artist Rod Thomas. [Aug 2014, p.96]

Slow Focus isn't without merit but you yearn for more. [Aug 2013, p.91]

Two Of Everything is a sure-footed progression from 2009's self-titled debut, thanks to the warm co-production of Dan Auerbach (Black Keys) and the pair's willingness to push the sonic envelope into the outre zone, even embracing bagpipes. [Sept. 2011, p. 96]

A teeming sonic bricolage of absurd/disturbing found vocals, bizarre musical fragments and their own art-funk chops, it suggests kinship with Robert Ashley, Aphex Twin and Eno & Byrne. [Sep 2010, p.97]

There are moments when Craft's melodies don't punch quite so hard as his striking, road-less0trodden imagery. [Mar 2018, p.90]

A potent debut that juxtaposes pastoral lyricism with urban angst. [Mar 2016, p.96]

By turns squally and bleepy, poppy and droney, the music here is too unfocused to really hit home. Again, just like old times. [Jan 2014, p.97]

Fluorescent keyboards crowd Kiwi Jr.'s once-open spaces on Chopper, making the surface of their first "produced" LP feel more like an oil slick than the band's past terrain of jagged delights. [Sep 2022, p.93]

She's neither a soft seducer nor a lapel-grabber, but her eye for detail combined with that degree of vocal detachment quietly commands attention. [Mar 2009, p.109]