It finds Glasper trying to maintain the interest of his new audience by putting a trio spin on neo-soul material as well as songs by Joni Mitchell and Radiohead. [Aug 2015, p.91]

Classic Quadrophenia, recorded with the Royal Philharmonic Orchestra and TV-friendly tenor Alfie Boa, works, but only sometimes. [Aug 2015, p.91]

The stark beats are the best Hugo and Williams have built in years. But its themes--dealing, girls--require more lyrical innovation to compel. [Feb 2007, p.105]

It's difficult to tell how much post-production has been done and how much the record truly reflects Marie's artistic vision. Even so, it's a good listen. [Apr 2013, p.90]

Still winging it, still wearing it well. [Dec 2010, p.99]

Cobb as a blockbuster album in him, but not quite yet. [Aug 2025, p.79]

These songs sound like they were made to be played on-stage (other than a few that don't lift off the ground). [Aug 2019, p.95]

In part gripping.... But Gore doesn't always push his voice to its brilliantly effete/effeminate extremes. [May 2003, p.104]

Pleasing, but lacking his early melodic strength. [Jul 2015, p.96]

At times you'd think she's finally stepped around her natural sophistication and freed her true nature. But then her rooted unwillingness to share, via comprehensible diction, the lyrics she's carefully crafted does step between the different intimacies of sound and sense. [Jun 2014, p.88]

Astonishingly, her own production makes much of this guff zing along with dirty guitars or big drum beats and improbably insinuating choruses. [Apr 2002, p.100]

The melodies are sunny, but Red Kite glimpses the brilliant glare of summer through a morning fog which stubbornly refuses to clear. [Aug 2015, p.94]

The thrill lies in eavesdropping on experiments-in-progress, ad as much in the quest itself as in the flashes of genius that occasionally arise. [May 2022, p.106]

On the downside, Razorlight is lyrically hamstrung. [Aug 2006, p.104]

Their peppy, sensual synth-pop has merit. [Oct 2012, p.95]

The first side's carnal workouts are muscular of beat, but let down by Common's awkward dirty-talk....The more 'conscious' ssecond half plays better. [Feb 2009, p.106]

This is a record that manages to feel both trapped and rootless. [Aug 2018, p.90]

Duets with Stevie Nicks and the latest country sensation, Colbie Caillat, lift the proceedings--but the tracks that stand out are those where he sings with more personal reflection. [Jul 2011, p.114

Listeners long-attuned to Gordon's avant excursions will find much here that satisfies. [Oct 2013, p.94]

The LP does feel monotonous after a while, the tunnel vision metaphor ultimately extending to the listener's experience. Keep the great frames, Agnes, but next time, try the varifocals. [Mar 2020, p.88]

Sonically never less than knowingly enormous, but concise at eight tracks, Walk Between Worlds is sure and strong. [Mar 2018, p.91]

The dozen songs, recorded in one take, make for an uncomfortable but absorbing trip. [Jan 2013, p.92]

Broadly, his remains the church of raucous or jangling indie-guitar with quirks (unexpected strings at the end of I Couldn't See The Light; clunking smartphone recording The Well Known Soldier), but Universe Room rewards the patient. [Mar 2025, p.92]

What Pony can't disguise is its influences: Orbison, Presley and Morrissey at their most doleful and camp, channelled through a similarly luscious baritone. [May 2019, p.91]

Ramona has a very on-Broadway energy. There are occasional Blue Hotel lapses, but I'm Getting Married To The War or A Precious Thing come across like a rock opera Aldous Harding, while title track - inspired by Bob Dylan's 1964 song To Ramona - is the third curtain-call Patti Smith. The force of her voice alone earths these songs. [May 2024, p.86]

Melodic snap and guileless sentiments. [Nov 2020, p.90]

Not quite magic but an impressive attempt at experimental spell-weaving. [Mar 2004, p.101]

Its dense analogue assault envelopes you like a pea-souper. [Oct 2018, p.87]