Audiobooks' adoption of absurdity continues to confound in the most delightful ways. [Nov 2021, p.91]

Here, he notes the dying of the light show with autumnal retreads of key songs from his annus mirabilis, including A Whiter Shade Of Pale, See Emily Play, A Day In The Life and – maybe toughest of all – Traffic’s No Face, No Name, No Number. [Oct 2024, p.82]

The cover of P.J. Harvey's 'The Desperate Kingdon Of Love' encapsulates the album--restful, intoxicating, sounding gorgeous. [Oct 2008, p.102]

Though the bleak, froideur-laden Going Wrong and Milky Blau also impress, here are moments when W reneges on Doorway's great promise. [Jun 2011, p.105]

There's a dark, delicious humour and true heartbreak in the NY trio's frank yet delicate confessionals. [Apr 2016, p.96]

These enigmatic narratives work well--the themes can be unearthed at one's leisure, immersed in music that's both poignant and delightful. [Feb 2020, p.88]

There's no doubt these are expertly constructed songs, but it feels as if the emotional wiring h as been botched. ... Let's Rock lacks the connection to be truly electrifying. [Aug 2019, p.89]

The best songs... sound as if singer Gary Lightbody spends a lot of time sitting in the dark pretending to be Lou Barlow. [Sep 2003, p.108]

Neptunes' grooves and collaborators score an impressive hit rate. [Sep 2003, p.111]

A feverish set that borders on near-delirium. [Nov 2006, p.100]

Although Overgrown Path is only 30 Minutes long, it nonetheless reveals Chris Cohen as a Man with an individual voice, and its brevity makes it particularly more-ish. [Jan 2013, p.94]

It's a slight concept (and a short album), which may be to the singer's benefit: in the past she could be off-puttingly clever in a very French way. OUI seems to be saying to us: "Yes, I'm simply a singer. Just Come and enjoy the music.". [Jul 2017, p.93]

Akron/Family's seventh album proffers 10 diversely arranged slabs of leftfield clamour, all of them shot through with a contrasting pop-classicist melodic sensibility. [May 2013, p.90]

It lacks the crisp modernity of old but it's knee-deep in lush curvature and angular salvos, and new favourites keep emerging. [Sep 2012, p.94]

Sessions and collaborations abound, finally collected here. [Feb 2016, p. 104]

A funny, funky and gloriously eccentric stew. [Oct 2006, p.100]

Guest vocalists save giddy, sampling sextet from "more of the same old" charges. [Feb. 2011, p. 97]

[A] gorgeously appointed escape from rock'n'roll's habitual savagery. [Jun 2014, p.89]

There's undoubted musicianship on display but killer tunes are rarer. [Dec 2018, p.87]

It feels like Palace's first significant work. [Feb 2021, p.85]

It's early days, but given everything is self-played, and the guitars are as deftly layered as they are swiftly shedding, Baldi might rise to something magnificent once the hormones have been expunged. [Feb 2011, p.107

A winner from top to bottom. [Jan 2014, p.100]

James Brooks conjures the motorik rhythm and magnificent vistas. [Oct 2014, p.96]

With its children's choir,s its nods to Tears For Fears circa Songs From The Big Chair, and its Kanye and Kendrick Lamar-inspired production tics, the rest of Ellipsis also brings a fresh twist to Biffy's rampant stop-start riffage. [Aug 2016, p.98]

[A] confident follow-up. [Jul 2006, p.106]

Wintery designs warmed by the likes of Bitchin' Bajas layering instruments, voices and electronics. [Feb 2017, p.99]

[Dave Gahan's] trademark delivery brings the gravitas to Machin's creeping strings-swaddled, Morricone-like mood. [Jun 2012, p.87]

The sound of a band re-energised, La Futura is possibly the hard rock album of the year. [Nov 2012, p.88]