No Tourists may be an open-topped bus ride around a familiar sonic landscape, but it's also a lot of fun. [Dec 2018, p.84]

Unfortunately the reality doesn't quite live up to the concept, because unuually for Squarepusher it isn't quite bonkers enough. [Dec 2008, p.100]

Musically, Stewart's ambition to marry first-album Suicide with Einsturzende Neubauten and latter-day Scott Walker has been realised with aplomb. [Mar 2014, p.95]

In many ways, My Love is an excessive, ludicrous - no, make that brazen, unapologetic - record; vital because it wasn't born out of a painfully self-conscious view of its maker's place in the world.

The whole affair comes off like a desperate bit of trend trawling. [Feb 2004, p.99]

Represents a giant leap backwards. [Nov 2001, p.112]

There are times when their admiration for R.E.M. burns a little too brightly... but overall this marks another step forward. [Mar 2005, p.100]

This is, however, their most mellow, reflective and tempered release yet. [Sep 2009, p.95]

Where 2008's 2 was frazzled and powerful, this one feels soporific, moderate, even a little slight. [Sep 2010 p.94]

Gainsbourg's reedy vocals ... just don't stand up to the rigours of live documentation. [Dec. 2011 p. 98]

Perfect-pitch harmonies and chiming guitars glide through 10 tracks of heartbreaks, make-ups and drunken misadventures disguised as glorious summertime breezes. [Aug 2013, p.91]

She sounds a tad daft masquerading as a feisty Harlem mama on the Pharrell-produced I Can't rely On You, but her uber-gutsy delivery still charms. [Apr 2014, p.90]

This eighth album is very much business as usual. [Dec 2016, p.92]

Jaguwar don't reinvent the wheel, but their propulsive guitar rock intricacies bring all the right deep-sonic thrills. [Feb 2018, p.99]

With the less auspicious intrusions of Petra Haden's '80s rock emoting, and Meyer's cliched whiskey-waffle, it's harder to discern where Williamson's heart lies. [Sep 2018, p.88]

Chilled psych-folk from a surreal world. [Jan 2019, p.92]

The result is an album of eminently listenable sonic frontierism, and Butler's most accessible work in years. [Dec 2018, p.89]

The results sound authentic, melodic '60s girl-pop, if a bit thin. [Feb 2019, p.93]

Has much to recommend it. [Oct 2005, p.101]

I'm Not Bossy, I'm The Boss is simply a remarkable collection of well-made songs. [Sep 2014, p.94]

The album has its moments, but you really couldn't call it the main event. [Jun 2009, p.99]

The strung-out meanderings of Doggy or De Soto De Son veer equally toward indulgent and the cosmic. [Feb 2010, p.112]

It would be easy to write off the album as pastiche but a confessional, honky-tonk-styled "Cigarettes," and the grit Merriweather puts into the immaculately fashioned grooves, show he's more about feel than fashion. [Jul 2009, p.95]

Sheer liquid mayhem. [Dec 2005, p.98]

[A] fractiously funky but resolutely glum return. [Dec 2002, p.108]

Ron in terrific voice; Santana's Latin rock and jazz notes both beautiful and rousing. [Sep 2017, p.96]

Ultimately, The Llamas seem like a Heston Blumenthal of sound, stimulating through a kind of weird science. [May 2011, p.112]

While impressive in their cinematic scope they can feel a touch superfluous. .[May 2013, p.96]