She now finds plenty to lampoon in 2011 on this droll, provocative comeback. [Apr 2011, p.105]

On Trapped Animal they bring that approach to bear on a wider range of styles--dancehall, digi-dub, roots reggae, lover's rock - although the title track and Reject stand out as the most originally shaped punky pop songs. [Dec 2009, p. 95]

An intriguing return. [Jul 2024, p.86]

There are some sumptuous moments, but it's also arch and mannered, and rather awkward to embrace. [Dec 2017, p.93]

Maybe all originals next time? [Sep 2005, p.89]

More stirring are te rougher dancehall textures of Smash Lies and Darkness Into Light's crunching guitars and soaring rock chorus. The latter produces the unsettling, but not unwelcome, result of resembling Soundgarden after a course of toasting lessons. [Jul 200, p.103]

Her piercing, angelic voice, redolent of Tori Amos, is given a sparkling canvas by Claes Bjorklund's synth battery. [Dec 2014, p.96]

In louder and busier sections it's easy to lose the text and there's no melody as consolation. [Aug. 2011, p. 94]

A provocative, anti-establishment critique of the blind idolatry received by the British monarchy and finds each of the nine tracks paying homage to Hutchings' list of notable women that he believes are worthy alternative monarchs. [Apr 2018, p.87]

An audibly irked record.... Girl Talk has balls and tunes. [Apr 2013, p.88]

Zietsch's music upholds the sparse, haunted tone set by Lana Del Ray, the minimalism so acute that each chord change often lasts for just one stroke of the strings or ivories. [Jan 2024, p.88]

A Fool For Everyone treads a similarly disconsolate path [as "The Sky Behind The Sea"]. [Apr 2009, p.101]

The tonal similarities of these tracks blend into one another, holding only half of your attention like the soundtrack of an imagined film. [Apr 2011, p.105]

The record increasingly drifts into hazy, slo-mo dream-pop, which inescapably pales besides the bolder tracks upfront. [Aug 2017, p.94]

Strong mastery of mood and era, but the overcast ennui palls before the album's close. [Aug 2020, p.94]

At its best, though, The Sea is not just honest and cathartic, but jaw-dropping - and a difficult call for any critic. [Feb 2010, p. 93]

This mini-LP ladles grooves on PDS's stripped post-punk. [Jul 2015, p.96]

Sounds surprisingly traditional. [Jul 2003, p.115]

It's Kuroda's interplay with singer/trombonist Corey King, sharp riffs and lithe, streetwise solos that hold sway. [Nov 2020, p.85]

Her candy floss-flavoured cough syrup vocals will be a little sweet for some tastes on first hearing, but when backed up with an acid lyrical kick, the overall effect is devastatingly insidious. [Sep 2013, p.95]

The unfamiliar are advised to check out his first three solo albums. [Dec 2017, p.92]

This album opts throughout for classy tristesse, perfect for Close To You and A House Is Not A Home, too steadily composed for Walk On By and Another Girl, both heartbroken songs behind the on-point style. [Nov 2016, p.87]

The combination of piano and the string ensemble Scoring Berlin has some overlap with sonic contemplations of Max Richter and Arvo Part. But Eno has a distinctive style and picks just the right chord change or string colouration. [May 2022, p.88]

While Rock Or Bust doesn't come close to that benchmark [1980's Back In Black], nor does it disgrace Young's legacy. [Jan 2015, p.95]

The album suffers whenever excess creeps in. [Apr 2018, p.88]

Through dry humour, love songs as tender as Tim Hardin's, tremolo guitars and intensely moving samples Powers reveals a psyche reborn. [Mar 2025, p.93]

It's not a great album but it is good, bar a slapdash feel to some songs and too much squealing, dated guitar. [Apr 2008, p.100]

Worden can be preposterously experimental - but she's always intriguing. [Dec. 2011 p.96]