Highly listenable and equally danceable, a kind of Pet Shop Boys meet Gary Numan at the gates of Georgio Moroder. (Sep 2000, p.95)

The sneeringly portrentious title and tracks called'Being Bad Feels Pretty Good' or Epic Last Song' would be forgivable--japes, even--if there were a sense of bona fide abandon bubbling beneath the synth squelches, vocoder-shrouded vocals and obligatory cowbell bashing. [Apr 2008, p.114]

For the most part his tribute to Duke Ellington works in the way that should keep purist onside. [Aug 2012, p.96]

2012;s Rhine Gold album leant more on burbling electronica, while Grasque pushes further still, into slow R&B jams, chillwave, even George Michael when Makrigiannis uses his higher register. [Mar 2016, p.95]

Ever constructed around our hero's robust tenor and rattling acoustic, then adorned with A-grade orchestration, it inescapably evokes Urban Hymns. [Nov 2018, p.93]

It's largely horrible, but sometimes impressively so. [Dec 2014, p.94]

Sadly, if you possess any of Embrace's four other albums, you'll have heard it all before. [May 2006, p.98]

It proves to be a violent, uncompromising record throughout...

Legion of Boom is more like the soundtrack to a horror movie than a night of DJ breaks and body shakes. [Feb 2004, p.102]

The formula eventually sags. [Oct 2002, p.92]

They've surpassed most of their contemporaries to climb right to the top of the chill-out tree. [Sep 2004, p.104]

A majorly impressive debut. [Aug. 2011, p. 100]

It's rocky Americana: swaggering and infuriatingly satisfying. [Apr 2011, p.97]

It's a sumptuous collection. [Nov 2014, p.100]

Much of With You Tonight lacks vim and will likely have vacated your memory by tomorrow. [Mar 2017, p.90]

It is mainly a joyous affair, good-timey in a well structured way and often reminiscent of the kind of thing Johnny Rivers used to dispense at the start of the '70s. [Apr 2009, p.101]

Polished and platitude-laden but hugely effective. [May 2015, p.100]

Unfortunately, Afterglow further embraces, and is overshadowed by, his influences. [Jun 2017, p.91]

Much of this album's re-booting of Waits' back pages in an ambient '80s style is fussy and forgettable. [June 2008, p.112]

Glasvegas retain their open-throated passion, anthemicism and the very distinctive Caledonian character of James Allan's voice, but these qualities are now sometimes a little lost in widescreen--like tears in rain, like synths in multi-track. [May 2011, p.105]

John Legend phones it in somewhat, and Ghostface Killah makes little sense, but the brain-pummelling tecno that punctuates the latter's profane offerings certainly makes the best of it. [Jul 2009, p.106]

[Apr 2012, p.88]

Tracks recorded with Cyndi Lauper and Primal Scream suggest some pruning might have made for a more impactful listening experience. [Jun 2016, p.88]

Producers Ron Anielo and Matthew Koma stick to the formula. And it's not enough. [Oct 2017, p.94]

The Endless River is big on atmosphere, just a little light on songs. [Dec 2014, p.88]

A major step up, until Nas fluffs the rhyme ball spouting credulity-testing conspiracies. [Sep 2018, p.96]

The thick strings lead to fumbles, as imagination is constrained by technique. [Sep 2009, p.104]

Love Frequency feels overly polished and not entirely convincing. [Jul 2014, p.91]