With each album, the Canadian collective's mix of '70s rock and nursery rhyme harmonies gets less raucous and more predictable. [June 2010, p. 94]

A restful, even romantic experience, Kastlander echoing Tracey Thorn's plaintive soul, in a beguiling confluence of wan Scando-folk currents and American hip hop. [June 2010, p. 97]

[Brian Chippendale] returns for more overcharged neon-Morricone industrial pop onslaughts, drums and vocals hooked up to his evil super-oscillator. [Apr 2013, p.89]

Baby 81 finds a band evolving past expectations into a newly intriguing proposition. [Jun 2007, p.101]

Filmic instrumentals ranging in mood from Badalamenti oddness to bright piano etudes and reflective gloom. [Nov 2018, p.96]

Most tracks are sophisticated, jazzy pop songs and ballads about relationships, but the angry young man of yore occasionally peeps over the parapet. [Feb 2008, p.102]

While he's putting love into these rippling, galloping beats, the vocal melodies get a little samey. [Apr 2010, p.103]

Talkin To The Trees is one of these simple pleasures, a port in the storm in these troubled times. [Jul 2025, p.83]

GBV's only LP of 2013 and it's a good'un. [Jun 2013, p.95]

Jackson Browne's return after six years feels dutifully dragged out of some deep somnolence, maybe exhaustion. [Nov 2014, p.90]

Treetop Flyers have perhaps wisely chosen to avoid Mumfords' bombastic path for an altogether sunnier route. [Jun 2013, p.88]

Yes, it lacks the ambition of Norton Folgate... but compensates with pop nous. [Dec 2012, p.89]

A likeable troika of covers--Neil Young's Revolution Blues, The Monkees' You Just May Be The One and Sandy Denny's Bushes And Briars--effectively locate Acoustic Dust on the stylistic spectrograph. [Jan 2015, p.98]

Only final track, The Way Our Lives Go, a slowish ballad, counts as a surprising divergence from the template. [Mar 2018, p.95]

A few missteps, but horn-pumped soul-rocker Love Again is a happy return for the Jersey Shore prince. [Aug 2019, p.98]

The LP is a little crammed. [Nov 2020, p.82]

After nine songs averaging under four minutes, Moore closes with The Realization, 10 minutes of converging light and dark, and one of the finest piece of music that he has put his name to. [Apr 2022, p.84]

Occasionally slight and throwaway, everything here is nevertheless fun. [Jun 2024, p.87]

There's much to applaud about Bow To Love as Campbell targets toxic masculinity (Everything Falls Apart) and the distancing, dehumanising aspects of social media (4316), but you sometimes feel only the shallows od her rhyming dictionary are being plumbed. [Jun 2024, p.82]

It's accompanied with a swing and a fingerclick all Waterhouse's own and could turn out to be the soul album of 2012. [Jun 2012, p.88]

Profound? Hardly. Fun? Indubitably. [Jan 2013, p.93]

Packed with airhorns, grunts and slashing keys, its tempo shifts at will, a reminder of a singular talent. [Oct 2016, p.99]

Another epically conceived record from a cult hero who should be slaying arenas. [Oct 2015, p.95]

A triumph, possessing a universal appeal that extends beyond the dancefloor straight to the heart. [Sep 2001, p.100]

This is an album of winsome alt country charm, like a pleasant cousin of Ryan Adams. [Feb 2004, p.98]

Sadly, their steadfast refusal to engage the emotions is irritating and alienating. [Feb 2001, p.95]

An album of relentless, aching beauty. [Mar 2003, p.96]

An eccentric, genre-hopping tribute to the mutability of song-craft. [Mar 2002, p.101]