It's the record that regular Krall devotees demand. So is it churlish to suggest that she's capable of something more? [Oct 2006, p.111]

Nutty as Emotional Mugger is, it's a joyful trip. [Feb 2016, p.91]

A glossy finish leaves little to hang on to. [Dec 2013, p.92]

Although partially undone by some same filler, Crosses' opaque longing peaks on Girls Float + Boys Cry. [Dec 2023, p.88]

Lyrics with thematic substance are complemented by fine tunes. [Apr 2017, p.93]

It's great that the music is allowed to live in the moment, but the inevitable live albums are hardly essential purchases. [Dec 2008, p.112]

Williams' storytelling gift is palpable, but pleasant to alight on though it is, Front Porch perhaps lacks that one outstanding merger of lyrical acuity/melodic potency, a la Dolly Parton's Jolene. [Jun 2019, p.89]

It's the lesser-spotted Mike D and Chan Marshall aka cat Power who snag this troublesomely titled fourth album's crowning moment. [Jul 2016, p.92]

This pared back approach, which lends parts of the record a "dancier" vibe, may not suit all fans of his singular debut. [Jul 2013, p.85]

Minimal beat-logic and a new-age-ish ability to work below pop's usual emotional horizons sets them apart. [Sep 2018, p.96]

Hidden Fields finds Lawrie drifting back to his black-denim roots with five tracks of distortion heavy, song-based sedation.[Sep 2015, p.92]

This is a resolutely up record, for the most part. [Jul 2014, p.92]

There's a surfeit of hushed intros building to emotional crescendos, but the feeling is all real. [Nov 2019, p.96]

“Don’t mind me… I’m a lazy sod,” sings Ian Gillan. Other daft lyrics such as “Mother nature’s keeping her socks on” support his confession, but Deep Purple’s indomitable frontman remains in fine voice and, musically at least, they sound reborn here. [Aug 2024, p.81]

Welfare Jazz finds them dropping through the gears and settling on a sound that often resembles the frazzled nocturnal grooves magicked up during Josh Homme's Desert Sessions. [Mar 2021, p.90]

An uncomfortable yet rewarding listen. [Dec 2006, p.110]

Ducking and diving between ivories and six-string, his reedy-voice makes for a Syd Barrett attempting Todd Rundgren's Something/Anything? record, full of compulsive tunes, but ever off-centre. [Feb 2019, p.91]

Intelligent, funny, heartbreaking atl-rock, Hornby lyrics music and vocals by Folds. [Oct. 2010, p. 92]

Be Your Own King is somewhat hobbled, though, by a flat, dense production from The Do's Dan Levy. [Mar 2013, p.89]

The results are appropriately cinematic and evocative. [Jul 2017, p.91]

Simple, repetitive, often unsettling, Sort Of Revolution refuses to succumb to the obvious. [Jul 2009, p.93]

With songs of fake rock 'n' roll, magical dogs, lost minds and love, this is pop with wobbly wheels and new found joy and optimism. [Dec 2009, p. 95]

An over proliferation of fluffy beats and soaring strings may have you hankering for something tougher. [Jul 2015, p.91]

Everything on Sinematic is huge, layered, expertly grooved and overladen with Robertson's parched voice hamming up lyrics which offset the standard portentousness of a rock great sermonising from the Mount with underspun True Crime yarns like I Hear You Paint House, Shanghai Blues and the Orson Wells tribute, The Shadow. [Oct 2019, p.84]

Familiar BJM territory perhaps, but they still inhabit a different, more enticing cosmos to their peers. [Jul 2014, p.87]

He achieves a delectable balance between affecting and creepy. [Nov 2012, p.85]

This hour-long excerpt inevitably loses that multimedia narrative heft, yet its marriage of dronescape synths and Chinese libretto - voices alternatively soaring, skittering and sorrowful - still casts an otherworldly spell. [Feb 2022, p.84]

One listen, maybe two, will be enough for most. [Sep 2016, p.93]