A sweetly-rendered set of originals. Sometimes, though, even if it drips with Nashville authenticity, it's all a bit too sugary. [May 2016, p.90]

[A] polished second set by the Swedish '70s-inspired blues-psych outfit. [Sep 2016, p.99]

The alternative takes are uniformly excellent, with studio chat, and even a stray telephone interrupting Bitter They Are, Harder They Fall. Above all, In The Jungle Room revels once again how superb his voice remained to the very end. [Oct 2016, p.110]

Rousing, otherworldly, outlandish. [Jan 2017, p.104]

Beneath the surface sheen, Resistance Is Futile is a complex, multi-layer work. [May 2018, p.88]

Packs intelligence, colour and melody. [Mar 2020, p.93]

Shape of Light harbours hues of Nick Drake, but occasionally Modern Studies' mellow beauty drifts into Enya-land. [Jun 2020, p.90]

Eno has rarely sounded so luminous and wistful, evoking alongside Wolfe a desert sunset that makes you excited to be alive but sad to have only so long left. [Jul 2025, p.83]

Tricky's 14th long-player somehow matches anything in his catalogue. [Oct 2020, p.91]

Sun-scorched heavy blues rock from Cosmic Californians. [July 2010, p. 94]

A sweet, herbal fug hanging over proceedings, Zebra joins the dots between blissed-out Balearica, trippy kosmische, Eastern and Afro vibes and spacey jazz. [Sep 2018, p.91]

Welcome Back To Milk is a powerful outpouring, but what lingers are the pauses for reflection. [Jun 2015, p.87]

It's a welcome upgrade, more considered yet catchier. [Jan 2016, p.98]

Emotions unemoted can work, but Good Advice feels too disciplined/stylised. [Mar 2016, p.98]

With Heartworms James Mercer has produced another fine crop of pop. [Apr 2017, p.88]

It's better to simply let La Cucaracha happen and enjoy how much Gene and Dean toy with and transgress musical forms while still playing them to a high degree of invention, proficiency and sincerity. [Dec 2007, p.99]

It's defiantly uneasy listening, becoming more uneasier still when No Help Pamphlet comes in sounding like a lost Badly Drawn Boy Song. [Sep 2017, p.88]

Less exotic perhaps than the West Coast, Brazilian, German and Franco-Italian musical forays of the past, but even more remarkably musical, intriguingly textured and affecting. [Nov 2003, p.130]

Smith's third album since her mid-'90s comeback, might be a more orderly affair than one might have hoped for, but she's still capable of wreaking a little havoc.

Her songs, paradoxically both epic and intimate, shimmer and pulsate as their kaleidoscopic images and mysterious characters drift in and out of focus.

It's not as spiky or sleazy as 2001's superlative Kittenz And Thee Glitz... but this is shiny, addictive pop that's never lost for a good tune. [Jun 2004, p.114]

A four-course meal of a record. [July 2002, p.108]

Folie A Deux recalls the high-impact pop oof "Private Eyes"-era Hall & Oates, and that's preferable to sounding like Blink 182. [Jan 2008, p.104]

Gently is how Carey does it, and he does it well. {Sep 2010, p.102]

An adult pleasure. [Jun 2014, p.90]

A delight. [Apr 2020, p.95]

A big-sounding record, it feels like a step forward for Segall. [Nov 2021, p.91]

Recasting love songs as ghost stories, and with no recycled early '80s moves, The Coral's self-created world seems reinvigorated. [Jun 2005, p.96]