Brilliant! Tragic! soars on the crumbling wings of an Adverts-brand art-punk and Argos's much-improved bellow. [Jun 2011, p.96]

A little of these Lee & Nancy-style duets foes a long way. [Feb 2013, p.98]

He sounds like a cross between Sonic Youth and Massive Attack, and the results are immediately convincing. [Apr 2003, p.100]

A souffle-light concoction of tape loops, odd samples, and fey vocals. [July 2000, p.118]

It's a near-total reinvention, and a triumph. [Apr 2011, p.98]

Its echoes of '60 Brit Invasion rock, arch lyrics and prime Pollard song-title jibber will sound more familiar. [Feb 2015, p.96]

A Hundred Million Suns sounds like a holding pattern for Snow Patrol. [Nov 2008, p.104]

Gibbons's wily blend of open-mindedness and roots-loyalty remains intact. [Nov 2015, p.86]

The quiet simplicity of In The Light, Long Way From Home or piano-led My Eyes suggests a delicacy within the songwriting pair of Jeremiah Fraites and Wesley Schultz that will prove far more satisfying in the long run than any future Top 10 Success. [May 2016, p.88]

A hugely sensual work. [Apr 2006, p.88]

Inc. have taken pop-R'n'B out of the cynical genre tourism and into somewhere far more interesting. [Mar 2013, p.94]

Its highlights peaking above those of its predecessor even if the quality of the often plasticky beats means it's a little more uneven. [Nov 2008, p.108]

A dauntless spirit permeates; and while there's only fleeting evidence of Berman's later literary wit, or Makmus' skewed rock swagger... [several songs] hint at the riches to come. [Jul 2012, p.101]

It's all too handsomely sterile to truly love. [Jul 2013, p.96]

It's only the too-glib wordplay that thwarts a more whole hearted endorsement. [Nov 2009, p.94]

NehruvianDoom might be slight, but it deftly whets the appetite for more. [Nov 2014, p.89]

Marvellous. [Jul 2006, p.106]

Even when further adrift from the lost funk sampledelia that made his name, Shadow's production brilliance shines through. [Dec 2023, p.90]

If The Way's latter stages descend into lumpy Who-y rawk, the earlier auditory apparition of Buzzcocks in tuneful excelsis will always be welcome. [Dec 2014, p.89]

But whereas their 2004 debut EP Headgit was intriguing if slightly stiff, they have developed into a propulsive unit with good tunes and a panoramic, near-psychedelic guitar sound. [Jan 2010, p. 90]

A few tracks sound blunt and under-realised, but mostly this is the sound of a champion artist getting good again. [Mar 2002, p.116]

It's frustrating to hear them bringing so much to material that doesn't quite coalesce, it's something like listening to holograms of actual songs. [Jan 2020, p.85]

Perhaps inevitably, given the material's scattered provenance High Hopes lacks the cohesion, both thematic and sonic that characterised Magic and Wrecking Ball. [Feb 2014, p.86]

It peaks with the opulent nu-disco of Tempest. [May 2014, p.93]

Marrying the softest hushed-breath vocals with a lush musical sweep at once both intimate and panoramic, All Harm Ends Here captivates from the off. [Jan 2005, p.94]

The hazy white noise loops of 2008's Black Sea stripped out in favour of choral drones and soothing gamelan chimes, perfectly suited to the film's meditative, valedictory tone. [Sep 2012, p.95]

CocoRosie sound, blissfully, like no one else. [Sep 2005, p.102]

[The album boasts] more accomplished songwriting than some bands manage in a career. [Mar 2014, p.96]