A persistently funny exercise in nonconformity. [May 2003, p.106]

This is well-muscled, heavily mascara'd dance music. [Sep 2004, p.99]

By focusing on the temporal, he reduces himself to simple protest music rather than timeless folk. [Aug 2005, p.104]

Unfortunately, the disc highlights a new hole: storytelling. [Feb 2006, p.92]

This collection [is] an artful, sweat-free take on eclectic rhythm that heads straight for the dance floor. [Jan 2012, p.93]

Blue-eyed soul with a gritty bite. [Jul 2014, p.96]

Too many superfluous guest vocalists distract but the result are bright and bold. [Jan 2015, p.96]

Clapton hasn't sounded quite so inspired in years. [Jun 2016, p.88]

The results are highly accomplished and consistently gorgeous. [Jul 2016, p.92]

Peaks on Joy Division-ish New Structures and the helter-skelter title track. [Oct 2016, p.100]

A bleak and occasionally beautiful debut. [Oct 2009,p.102]

Pollack's velvety, diction-rich voice shines on the syncopated, a cappella intro of "The Loop," and her idiosyncratic, mostly cryptic lyrics can be striking. [Apr 2010, p.104]

The whole album suggests the assured songwriting will in time be matched by the sloughing-off of any nods to the familiar. One to keep a beady eye on. [Aug 2019, p.96]

Julian Casablancas emerges with this engagingly odd collection of songs. [Nov 2009, p.92]

His near facsimile approach to fond memory demands a revitalising new element and he hasn't got it. [May 2008, p.112]

Luminous Night reflects the yin-yang duality of a player whose axework has feulled Both Comets On Fire's freakout euphoria and the post-apocaltptic spok of Current 93. [Oct 2009, p.101]

I'm Having Fun Now is a musical meeting of minds, sure, but more significantly it's continuing evidence of Lewis's rapid artistic evolution. [Dec 2010, p.98]

After all this time, Eric Clapton finally sounds at peace with himself; secure even. [Oct. 2010, p. 88]

It's a reversal of the usual wild and weird direction of extra-curricular albums: it's more commercial than Room On Fire! [Nov 2006, p.112]

[The album] sees the reunited Grand "Daddy G" Marshalll abnd Robert "3D" Del Naja proving they can still corner the market in atmospheric glooom, even if their era-defining days have passed. [Mar 2010, p.90]

The result is a trifle confusing. [Dec 2012, p.85]

Her lyrics draw you in, as she explores the chemistry of attraction on the title track to an appropriately sexy descending chord sequence, while a fly-by-night lover gets his comeuppance on Easy Street. [Oct 2018, p.84]

Editors have hatched a perturbed and maximalist affair whose thundering algorithms target the darkest, least inhibited corners of the dancefloor. [Oct 2022, p.90]

A move to their own label sees them lose the plot entirely, sliding into the stodgy AOR navel gazing of From A Window Seat and listless choogling. [Sep 2013, p.90]

Doherty's songwriting rises to the occasion. [Apr 2024, p.88]

An overwhelming record that bends and blusters with grand passions, bittersweet beauty and no small hint of desperation. [Apr 2005, p.98]

[It] delivers a pop-art contrast to the prog-opaque sprawl of its underrated predecessor. [Nov 2006, p.106]

While Inspiral Carpet's Clint Boon will surely applaud Monroe's retro organ flair, much of the magic here stems from Like linchpin and Nabokov fan Z Berg, whose literate lyrics and carefully hatched melodies continue to wring intrigue from that hardy perennial, boy trouble. [Sep 2010, p.96]