Surrounded by punchy horn and a rhythm section that knows its Duck Dunn and Al Jackson, Jr., this is one Paperboy who delivers. [Jun 2010, p.102]

Best savoured as a whole, a magical mystery of Pollard's pop-obsessed, haphazardly-filed subconscious. [Feb 2006, p.107]

It sounds like the soundtrack to an odd dream about a Western film. [Mar 2013, p.96]

She's somehow too like several other singers and perhaps too unambitious a writer to immediately engage novitiates. [Mar 2003, p.114]

The former Talking Head has rarely sounded so vital.

It drifts rudderlessly in places, but at its best... it's among Tortoise's most persuasive music to date. [Apr 2004, p.108]

While this delicately wistful set is hardly a great leap forward for Zero 7, one thing is certain: you'll be hearing it everywhere this year. [Mar 2004, p.104]

Fails on multiple fronts. [Dec 2004, p.116]

Much of the remainder, however, plays a depressingly straight bat with mainstream thrills. [Aug 2015, p.96]

12 knockout tunes soaked in feedback and melody. [Apr 2007, p.96]

A surfeit of wilfully sibilant '80s keyboard sounds notwithstanding, there's little to dislike. [May 2009, p.103]

This new nightmare falls short of the original, with several songs misfiring. [Nov 2011, p.93]

HDBA embrace cyclic faux-Krautrock, robust electronic rhythms, looped vocal phrases and miscellaneous soundtrack atmospheres. [May 2012, p.92]

With the frustrating Violent Light, Wilson has surrendered his own persona. [Apr 2014, p.97]

There's little obvious mind expansion in these long-haired ruminations on modern living, but Rose Windows still have the power to lift listeners far out of the everyday. [Jun 2015, p.92]

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

While the power-soak guitar solos ard gung-ho buck of Crazy Horse are present and correct, it's curious that Americana packs songs that don't fit its brief. [Jul 2012, p.88]

The result is a dazzlingly crafted bunch of hazy, West Coast pop gems stuffed with Santanaesque six-string wizardry. [Mar 2014, p.91]

The gap between theoretical mind-blowing freakout and actual indie underpinnings remains acute, however, as Venusia and Valley Of The Calm Trees suggest Klaxons may just be Mansun with a faster processor. [Sep 2010, p.103]

Synths sway like palm trees, grooves come sun-baked, and nifying message songs flow. [Jul 2020, p.88]

Taken as a whole, these poignant moments never threaten to cohere into a greater whole. [Apr 2010, p.111]

The result is a sulky, euphoric blend of Ramones, Runaways and Cheap Trick, with maddening echoes of Iggy Pop, Ash and The Undertones. [Nov 2014, p.96]

It's a parade of warhorses and they sometimes ride a little wearily, but Winter pepped their steps by four-handed guitar shootouts with Eric Clapton on Don't Want No Woman and Ben Harper in Can't Hold Out. [Oct 2014, p.91]

Their tenth album is grand, moody and elegant in all the right places. [Feb 2015, p.90]

A tightly zipped, anxious, often menacing trawl through personal challenges, offset by Caribbean vocals and rhythms and collaborations. [Mar 2020, p.96]

The Bridge is Sting at his most-Sting like. [Jan 2022, p.82]

The trio have delivered thier most tuneful collection yet. [Oct 2009, p.106]

Holland's singing identity still shifts disconcertingly. [Aug. 2011, p. 92]