The continuing resemblance of their lyrics to motivational speeches may still grate on non-fans. [Oct 2013, p.88]

Her songs are full of girl group feistiness. But not all of them. [Jul 2015, p.94]

A return to the Guillemots beckons, then, but Fly Yellow Moon is still an enthralling and at times euphoric affair. [Feb 2010, p. 97]

Less a big splash, more fascinating ripples on a pond. [Apr 2013, p.89]

[A] thrilling state-of-a-broken-nation address. [Jun 2013, p.95]

It's all a bit similar, and amazingly unmoving, until the last number. [May 2014, p.92]

Clearly not a point of entry for the uninitiated, but all serious Wire-ologists need this. [Sep 2014, p.107]

No nonsense also means no frills and Stereophonics still follow the white line straight down the middle, doggedly relying on songs rather than production dazzle or image to see them through. [Oct 2015, p.96]

2017's TLC are clearly more comfortable reminiscing, making their good-natured fifth less futureshock, more time machine. [Aug 2017, p.89]

An evocative set of instrumentals, rich in texture and gentle, melancholic beauty. [May 2007, p.103]

It all becomes a bit of a grind--and not entirely in a sexy way. [Aug 2008, p.103]

As M. Ward's unflustered, vintage-sounding guitars gift memories of Chet Atkins and Les Paul, there's a welcome, brandies-by-the fireside serenity afoot. [Jan 2012, p.92]

It's core is stop-start, angular digital transmissions entwined with acoustic piano and smokey analogue-synth interludes. [Apr 2013, p.95]

It's hard to imagine droves of converts flocking to so abstruse a musical cocktail, but it's a welcome addition to the Grubbs canon, nonetheless. [Jul 2013, p.87]

Enjoyable, though less revelatory, Arcade Fire's Games Without Frontiers, Joseph Arthur's agonised Shock The Monkey and Lou Reed's Jokily grindscaping Solsbury Hill contrast with Paul Simon's restrained Biko. [Nov 2013, p.91]

His sixth solo offering is a surprisingly mainstream jolly. [May 2015, p.97]

It's rather an unsuccessful mish-mash, especially given the aggressive diversity of the guest stars. ... But the weakest link is Morello's hyperactive and ultimately distracting tic towards Skrillex-esque techno bursts, bleeps and squelches, which ensure The Atlas Underground will age worse than MAGA hats. [Dec 2018, p.84]

Out Of Control is something kinda meh. [Jan 2008, p.104]

Ziggy never quite manages to be his own man here. [May 2014, p.86]

It might be another album indebted to the '80s, but the sound of discovery has seldom been such fun as is. [Nov 2010, p.107]

Such earnestness makes for a terrifically hard slog. [Aug 2004, p.93]

While the album has its awkward moments, there are enough slinkily wonderful tunes, gleeful beats and miments of genuine tenderness to make Skinner's transformation not just convincing but also really rather lovely. [Oct 2008, p.100]

They haven't really been missed, yet it's good to have them back. [Jun 2012, p.83]

In its own way, Time is as pleasingly surprising as Bowie's re-emergence. [Jun 2013, p.86]

This is musical wheatgrass juice: wholesome, virtous, but ultimately fun-free. [Mar 2008, p.115]

Some ace stuff aboard here.... But you do long for MES to turn up with a sheaf of structured writing, as per Hex Enduction, rather than a sozzled brainful of scattered grievances and in-jokes. [Jul 2013, p.86]

It's impeccably stylish, idiosyncratic stuff, as ever, but is a little more heart too much to ask for? [Apr 2007, p.108]

Belle Starr and... Red Staggerwing finds [Knopfler] reaching for a goodtime clambake feel that ends up sounding kinda grating and twee. [Jun 2006, p.98]