Trials & truths is a diffuse experience. [Feb 2017, p.94]

Illuminated, with its wistful wordless vocals, keening melody and swooping strings, is arguably a career peak. [Sep 2009, p.102]

The new, not-so-great English translations hurt more than help. [Jun 2006, p.102]

This succeeds chiefly because its remixers take such drastic liberties with the source material. [Jan 2013, p.92]

Happiness Ltd is all about neat production, inventive time changes and romantically inclined witticisms. [Oct 2007, p.92]

From the get-go Freedom Of Speech takes no prisoners. [Mar 2012, p.93]

It's the lesser-spotted Mike D and Chan Marshall aka cat Power who snag this troublesomely titled fourth album's crowning moment. [Jul 2016, p.92]

The wit and intelligence rarely lets up. [May 2003, p.95]

One of the most bizarre covers albums ever. [Dec 2004, p.102]

And if nothing on Killing Puritans has quite the commercial potential of last year's You Don't Know Me (a UK Number 1), it does have the same cheekily opportunistic spirit, Van Helden's sticky fingers busily probing all kinds of forgotten pop cultural corners.

Heavy on reggae, with strong funk and grooves. [Aug 2015, p.98]

Paralytic Stalks is not an easy listen, but neither is it a good one. [Mar 2012, p.98]

It's early Erasure fans who seen likely to enjoy the '80s electro sheen of the all-action rhythmo-melodic hooks and subplots. [Nov 2011, p.100]

Nicks co-produces with Dave Stewart and Glen Ballard. [July 2011, p. 102]

A sonic quantum leap. [Jul 2005, p.100]

Alas, when their feisty glam racket starts to repeat itself towards the end, the joke wears a little thin. [Nov 2005, p.112]

This may sound wilfully eclectic but actually hangs together, bound by May's showman-like vocals. [Mar 2009, p.109]

There's a moving intimacy and improvisational feel to the wistful, late night, piano songs. [Apr 2003, p.108]

Despite being accessible like an electricity pylon, this trio of art-punk hysterics are as righteous as they are ridiculous. [Jul 2003, p.108]

Despite some uneven quality control, here's proof that this veteran MC still has things to say. [Dec 2010, p.94]

So far they make phrases rather than lyrics and sounds rather than songs, but they have a nice semi-chaotic way about them. [Sep 2008, p.108]

This guileless, wistfully romantic harmony pop suits them much better. [Jul 2015, p.96]

It's all tawdrily familiar. [Oct 2009, p.102]

Kravitz's stylistic schizophrenia remains on Raise Vibration, whether in the early-80s electro-beats of Who Really Are The Monsters? or the What's Going On moves of It's enough. [Oct 2018, p.87]

Removed from the living artist, it may one day be hailed as a great album. [Apr 2020, p.88]

Hyde and Eno's voices knit together well and the album is full of surprises. [Jun 2014, p.93]

She sings the bejesus out of these big, open-hearted tunes, and despite some lyrics having a slightly gauche quality, you soon warm to the melodramatic hooks of Agony and the cleverly constructed pop-soul nugget Beauty Of The End. [Jun 2012, p.82]

The going is initially uncertain, but by 'Turn It On,' space and size begin to shift and singer Alex Kapranos shimmers in and out of the mix. [Jul 2009, p.106]