Le Voyage is best when it sets the controls for the tribal prog of Sonic Armada or the ritual beats of Astronomic Club. [Mar 2012, p.92]

At it's best Interiors is alien and magical.... thought, it can also slip into a rather inaccessible coolness too. [Nov 2013, p.107]

The Ghost In Daylight is a memory-haunted journey through the dead voices and deep narratives of Englands lost; broadside ballads culled from earth and sea. [Jun 2012, p.87]

Its influences and allusions diverse, but fruitful. [Dec 2008, p.110]

In Our Bedroom After The War aims for a more dramatic sweep than its predecessor but falls a couple tunes short. [Nov 2007, p.108]

Overall it's pleasurable, audacious even, but hardly world changing. [Sep 2009, p.102]

Even if you take a rain check on that multimedia trip [interactive comic book], there's still much to enjoy. [May 2013, p.94]

Not quite enough to give Win Butler the vapours, but not far off it. [Sep 2013, p.90]

The permanence of adolescent earnestness hangs about the Young Adult novel-ish lyrics. [Jul 2014, p.92]

Joyland has a coherent feel of low slung rock'n'roll and Morricone twang. [Apr 2015, p.96]

As with previous Immersion material, analogue synthesizers provide the musical focus here, sporadically infused with electric guitars, often played in the oblique, angular style that Wire Fans will instantly cleave to. [Feb 2017, p.98]

What Matters Most is near faultless; a whole semester of song-craft in 40 minutes. [Jul 2023, p.90]

Packed with fine folk-tinged numbers. [Jun 2006, p.102]

I know which post-millennial album I'll add to the Atlantic, Bell and gospel classics. [Apr 2005, p.96]

Matt Sims turns out to be the perfect complement to Leila's post-Moroder production pyrotechnics. [Feb 2012, p.97]

On one hand, there are well written songs here, served up on a bed of country tunes via Jack White's rarefied, obsessively aesthetic Third Man label. But then there's the cheap, digitised sound, with all the charm of a Hallmark Country Christmas album dropping an '80s home organ down the stairs at Nashville airport. [Jun 2022, p.86]

A ton of fun, just like the old days. [Oct 2016, p.92]

Full of regret, hard-won wisdom and DIY pop artistry, No Need To Be Downhearted transcends bog-standard indie to build a world of sophisticated melody and ingenious arrangements. [May 2007, p.112]

While Tonight: Franz Ferdinand might not take all the chances those early reports suggested, it shows the band examing their world from all angles, from the unflattering profile in the mirror behind the batr to the long hard look into the soul. Life in three dimensions suits them very well indeed. [Feb 2009, p.102]

A pea souper of an album, beneath which there is some gold. [Feb 2011, p.104]

A collection of songs which rings with the same deeply felt, universal truths of Bon Iver's For Emma, Forever Ago and Ryan Adam's Heartbreaker. Chillingly authentic. [Aug. 2011, p. 100]

There's lyrical playfulness throughout. [Oct 2014, p.89]

More thoughtful and restrained than the heavily tattooed band's raucous live (and already very well-attended) shows may have promised, Shallow Bed is full of passion, nonetheless. [May 2012, p.88]

The presence of four hired songwriters dilutes the duo's offbeat DNA. [Oct 2016, p.96]

From the title track onwards, he slaps down 25 minutes of spring-heeled and rump-shakin' bumpin' Bootsy funk, which will pick up again after ballad Heaven Yes, gentler Ladies Nite, and the poppy Candy Coated Lover and Snow Bunny. [Dec 2017, p.93]

Ultimately, the thrills on The Silver Cord are intermittent, but you have to admire Gizzard's relentless pursuit of the next high. [Dec 2023, p.87]

This transatlantic convergence of innovative, virtuosic minds is a sublime advert for the possibilities of improves post classical composition. [Aug 2012, p.94]

With very few exceptions, there's a real sense of unity throughout the album. [Oct 2011, p.106]