'I Remember' and 'My Dearest Friend' are intimate, sad and soft.... More songs like these, and he would have a classic album on his hands. [Oct 2007, p.98]

Wildewoman is more of a patchwork quilt. [May 2014, p.94]

By turns squally and bleepy, poppy and droney, the music here is too unfocused to really hit home. Again, just like old times. [Jan 2014, p.97]

Experimental longueurs and lack of vocals mean this trip's not for everyone, but out-rock fans should get on board. [Aug 2005, p.109]

Forget Me Not may echo Dancing In The Dark's intro, but it's bouncy energy is pure Ready Steady Go!, while the crisp, finger-poppin' stomp of If Your Prayers Don't Get To Heaven evokes gospel-tinged Motown. ... However, an ensuing sequence of stodgy ballads and grunty blue-collar rockers kill that aspiration, underscored by dreary production from Ted Hutt. [Mar 2018, p.92]

An album of abundant, aberrant fun. [May 2005, p.102]

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]

Longtime fans might be appeased. Others may find themselves a trifle bored. [May 2011, p.104]

A more elemental approach to dance music. [Oct 2014, p.93]

Existing fans are well served. [Jun 2007, p.112]

Extra bass and echo enhance it reality-subverting agenda. [Feb 2013, p.98]

Much is intimate and seductive, but Undress emphasizes the feeling Hoop is in a holding pattern which is increasingly hard to escape. [May 2014, p.91]

Absolute Truth rights the ship with enough whistling milkman melodies to sink the Titanic. [Sep 2016, p.95]

It's certainly brave. Whoosh! is superior when guitarist Steve Morse and keyboard player Don Airey slip their leashes. [Sep 2020, p.85]

The finest track is Lukas's high tenor take on George Harrison's All Things Must Pass, a hymn to wisdom and humility its timelessness reinforced as a country song. [Jan 2022, p.82]

Dreams On Toast's music is much less nuanced and thought-provoking - but that's no slur. [May 2025, p.86]

A riotous union of scabrous '60s punk, resonant surf licks and grimy, narcotic song-craft. [Oct 2014, p.94]

Earnestness often rules. ... They're better at slushy, Radio 1 epics and louder, brasher tracks. [Jul 2020, p.78]

A specialist release, perhaps, but one that is ambitious, accessible and beautifully played. [May 2006, p.112]

While Anastasis is typified by lengthy songs and sometimes rather ponderous beats, Gerald is in her element on Kiko. [Sep 2012, p.95]

Further evidence who believe Coxon is the most creatively restless member of Blur. [Aug 2001, p.98]

A welcome departure. [Jun 2004, p.114]

As overdriven and mutated a noise as ever they've managed, Damage also retains Blues Explosion's trademark sweat-drenched feel for soul. [Oct 2004, p.101]

There's much to be enjoyed here, but The Concretes, like a packet of Fruit Pastels, are best appreciated in fairly small doses. [Apr 2006, p.108]

Efrim Menuck's off-key wail remains an acquired taste, but there's undeniable collective commitment. [Apr 2008, p.112]

Even while eschewing the much-loved spacey dub demo interludes of earlier releases for a kind of metaphysical hard rock, all but one of these tracks are worthy additions to a now capacious legacy. [Jun 2015, p.90]

California Nights comes over like a dreamier take on Hole's Celebrity Skin or a souped-up. digitally-produced Go-Go's. [Jun 2015, p.86]

Moon ultimately suffers from a surfeit of wistful syrup. [Feb 2014, p.95]