Eclectic as it is, Weatherhouse is largely convincing evidence of a singular voice being belatedly found. [Nov 2014, p.99]

The wiry Dubliner is stealthily building a similarly indelible songbook. [Feb 2016, p.92]

Nervy, fragile set. [Feb 2018, p.99]

Lyrics are lovably askew and songs rarely breach three-minutes. In conclusion: more is still more. [Mar 2019, p.99]

The NYC three-piece are a band playing to their strengths. [Feb 2009, p.113]

For the most part Empire is every bit as powerful as its title suggests. [Oct 2006, p.96]

Here nothing has changed as she melds all these influences ub a tribute to her now beloved New York. [Dec 2008, p. 100]

Although the album is marred by its over-consistent tone, almost any one of these songs taken in isolation--played of the closing credits of The Sopranos, say--would rightfully be hailed as a lost classic. [May 2007, p.118]

The odd over ethereal moment notwithstanding, the remainder of the album proves equally alluring. [Jan 2013, p.90]

An impressive debut that crackles with vitality. [May 2011, p.112]

In short, a bafflingly sequenced and rather unlovable record. [Apr 2013, p.91]

At best, Oye and Boe capture loniness in a saue way and both are wonderfully fluid guitarists. But they can also be overly precious. [Nov 2009, p.92]

A sounding board for confessionals too heroically wonky to be dull. [Mar 2013, p.86]

Nothing sounds quite as expected. [Nov 2002, p.108]

Jones admits a queasy air of self-congratulation to her third album of jazzified covers.

Chopper blades and police sirens pepper the album; indeed, shorn of this angsty hum, the by turns pastoral and metallic instrumental tracks pale. [Apr 2004, p.106]

It's a doleful piece, with many trad Moby elements present. [Jul 2009, p.94]

If his lyrics do have merit Chabot obscures them with generic electro-riffs. [Aug 2009, p.98]

The twinkling, chaotic, looped intensity of All Graphs Explored is typical of Larry Gus's individual and highly charismatic approach. [Nov 2015, p.89]

While an absorbing listen in their original form these largely uncluttered canvasses also present an opportunity for further remodeling bounded only by the imaginations of those ready and willing to pick up the gauntlet. [Jan 2015, p.97]

The shared predilection for sub-Saharan styles is implicit, if not obscure, across Let It Be You's 10, expansively produced essays. [Nov 2016, p.89]

Van delves deep to breathe new life into some relatively lesser-known gems ranging from 1974’s Streets Of Arklow (from Veedon Fleece) to Get On With The Show (What’s Wrong With This Picture?, 2003), rejuvenating them with persuasive soul and passion.

Full of warmth, humour and depth. [Feb 2020, p.86]

She keeps the mood focused and the music softly funky. [Mar 2005, p.92]

Few, if any of 2009's more high profile rock releases could match the adrenalin charge of Death's 34 year-old debut. [Mar 2011, p.114]

Earth-shattering breakbeats take a backseat to slicker, smoother, jazzier efforts and broad-brush over-emoting for much of its ponderous second half. [Jul 2017, p.91]

Brooklyn collective with ex-Le Tigre members party like its 2003. [Feb. 2011, p. 107]

This is Coldplay getting in, delivering the tune, getting out, influenced by the discipline of cutting-edge R&B but still capable of testing arena acoustics with some supermassive bluster, glitterball lustre and classic Buckland glide'n'twiddle. [Dec 2011, p.46]