If Three Futures lack depth, then, it's only because everything inside has been dragged out, up to the surface, into the light. [Nov 2017, p.98]

This is (finally) an album that is enjoyable solely as a listening experience. [Sep 2013, p.89]

Not everything is quite so Travis by-the-numbers--and with mixed results. [Sep 2013, p.88]

Rodgers' fealty to rhythm is still unquestionable from opener Till The World Falls through the emphatic beats that drive Boogie All Night and single Sober, which are clearly less subtle than "old" Chic. [Dec 2018, p.90]

Fans of Porcelain Raft will go nuts for the aural sigh that is Pavo Pavo. [Dec 2016, p.94]

Occasionally self-indulgence threatens, but no matter; there is an undeniable musical hunger and pioneering spirit at work here. [Apr 2006, p.101]

It's definitely in the family tradition. [Oct 2006, p.112]

Over 12 mostly blueprint-hugging songs returns diminish, but scuzzy beat-box disco outrider What Did I Ever To You is great. [Sep 2023, p.86]

Scally's armoury of drum boxes, Bontempi organs and electric guitars provides shape-shifting backgrounds--classic '60s pop arrangements filtered through the fuzzy prism of a dream. [Mar 2008, p.108]

Precision tooled to keep Green chart and arena-bound for the foreseeable.[Dec. 2011 pg. 94]

Witchy and hypnotic. [Feb 2015, p.95]

A series of grand rippling hallucinations, unfolding ever outwards on the central melancholy theme. [Mar 2012, p.97]

A trippy reined-in take on Madlib's psychedelia across a powerfully conversational ode to person resurrection winningly contrasted against past druggy misdemeanours. [Jul 2017, p.93]

His sixth solo offering is a surprisingly mainstream jolly. [May 2015, p.97]

This set is more ambitious, sometimes bonkers [than his previous two albums]. [Jun 2016, p.91]

Leader Joseph D'Agostino drops vowels with a schizoid, Malkmus-esque charm (somewhere between a meltdown and a bong pipe), while the band see-saw between going for the jugular and a surprisingly touching melodic tinkering. [Dec 2009, p. 90]

Ringo makses a good fist of his production debut. [Apr 2010, p.98]

Stewart sets about pushing up the earth under these delicate folk orchestrations and prog madrigals with subversive skill. [Dec 2022, p.91]

The fractured electronics of his homespun-sounding dispatches give way to freewheeling keys that smack lightly of Thelonious Monk, Herbie Hancock and Bill Evans. [Sep 2018, p.91]

A record of quality, but not of distinction. [Aug 2013, p.86]

Posse-laden re-workings of deathless anthems Public Enemy Number Won and Fight The Power are suitably superfly; rehashing four tracks from 2017's Nothing IS Quick In The Desert less so. A welcome blast if righteous funky wisdom nonetheless. [Dec 2020, p.83]

His third album in as many years, while not among his most consequential, proves that, at 71, Morrison can still perform with gusto. [Nov 2017, p.98]

Her laconic, absurdist humour gently inflects each track, even when she is singing about intense paranoia and loss. [Dec 2018, p.90]

Though arriving with less of cacophonous attack, their crush of distortion and Elena Tonra's swooning vocals is rooted in the same psychedelic heartland. [Feb 2016, p.91]

Sometimes Duffy tries just that little too hard to capture the sound of soul music's glorious past. [Apr 2008, p.102]

This trio's future pop debut is almost synthetically pristine. [Feb 2015, p.96]

You can see why they've got another Golden Globe nomination for this, although most of the music here isn't in the film and the many highlights get lost in an eternity of approximately similar sonics. [Mar 2012, p.94]

There was much brooding menace and acoustic industrial, and things have not developed significantly. [May 2015, p.99]