The only musical shift is Bete Morcelee, which isn't grunge but zippy punk; the rest reprise Marry's trademark conjoining of equally joyous Afro-pop and Anglo-phonic guitar-pop. [Apr 2017, p.95]

An improvement on 2020's lightweight Pt. 1. [Oct 2021, p.99]

He cameos his way through an album of star-studded but largely by-numbers major label rap/R&B without breaking sweat. Yet jewels lurk amid the imitation pearls. [Feb 2022, p.82]

This is less organic, more brittle, and electronic than before and begs to be opened out in a live setting. [Jul 2015, p.93]

It's cleaner, but still killer. [Oct 2011, p.101]

Sonically never less than knowingly enormous, but concise at eight tracks, Walk Between Worlds is sure and strong. [Mar 2018, p.91]

Lean and timeless sounding, it's also as truthful as Everett's sobering autobiography, Things The Grandchildren Should Know. [Jun 2009, p.104]

[A] confusing, sprawling grab-bag. [Nov 2014, p.90]

From Out Of Nowhere is a stronger, better focused set than its predecessor. [Dec 2019, p.84]

At best the new songs are bright, '70s soulful confections but too much will give you toothache. [Apr 2013, p.98]

An unconventional beauty. [March 2003, p.114]

Their atmospheric twist'n'drone merits more acclaim than they've received so far. [Mar 2003, p.112]

There's an uncomfortable homogeneity about it all. [June 2002, p.100]

Tread lightly past the handclaps and keyboard quacks to find a collection of uncomfortably honest damaged-goods love songs set in the cold hours of the a.m. [Dec 2004, p.102]

Their continued presence is reassuring, confirming that there are enough people sufficiently interested in old-fashioned rap music to ensure the group's survival. And this album, logically, is made for those listeners, not to pander to a theoretical multitude. [Aug 2003, p.94]

Not Music can feel a little like trying to solve a series of Sudoko puzzles, the brain fully engaged but the heart untaxed. [Dec 2010, p.97]

Air Museum sees the Brooklyn duo largely trade computer manipulation for the studio, processing instruments using analogue gear. [July 2011, p. 105]

Bold and absorbing set. [Sep 2020, p.82]

Michael Collins' garage rockers do Detroit techno. [March 2011, p. 97]

Once Upon A Time In The West treads a similar path [as "Stars Of CCTV"], though this time Richard Archer and co have packed in more guitar wallop and catch-all harmonies. [Oct 2007, p.90]

While the material heads nowhere new, there's a good feeling to all that's happening. [Mar 2015, p.99]

Don't Look Surprised strays into Killers Territory but the doo-wop strut of Hunger and calypso jangle of Photograph more than make up for it. A life-affirming debut. [Mar 2011, p.95]

Teeming with deftly plucked and delicately pitched melody trails, Whispering Trees stands worthy of its forbears. [Feb 2013, p.88]

There's a synergy and rapport in the set's dozen tracks that reveals how deeply the new band has gelled with Mayall. [Oct 2015, p.88]

Musselwhite's bittersweet harmonica offers plaintive asides to 10 Harper-penned tunes, the most potent of which is Nothing At All, a solemn waltz-time ballad. Elsewhere, the material ranges from rough-hewn country blues to swaggering Muddy Waters-esque message songs. [May 2018, p.95]

A pleasant appetiser until ZZ Top bring out another main course. [Nov 2018, p.86]

Spontaneity suits him; weaving jangly groove-grit with melody and just the odd overly-earnest lyric. [Sep 2019, p.96]

This second album build on the same template [as 2016's Cradle With Humanity]. [Jul 2020, p.82]