Nino Rojo is no mere best-of-the-rest affair, but a sibling piece of equal intimacy and inspiration. [Oct 2004, p.102]

Restrained but emotionally compelling songs. [Sep 2014, p.93]

It never feels as though her best work is behind her. [Nov 2018, p.96]

The songs about hurt, hardship but also hope are sung in raspy voices with sparse guitar and farming tools used as percussion. [Dec 2019, p.88]

Excellent comeback. [Apr 2026, p.90]

After 20 years, Fuzzy Logic still hasn't stopped making sense. [Jan 2017, p.110]

A furiously funky soundtrack to impending doom. [Aug 2023, p.85]

Soulful, questioning, and the perfect introduction to Smith's unique, illuminative jazz. [Feb 2018, p.99]

A quintessential "pocket trip" record, then, sculpted and sequenced to perfection. [Jan 2020, p.87]

Neither the return of the Last Gang In Town, nor the crisp, literate, wonderfully confident pop with which Albarn perfectly crystallised the mid-1990s. Instead, The Good, The Bad & The Queen is a noir-ishly understated suite of songs, further testament to its chief author's need to keep on moving. [Jan 2007, p.98]

Strangelet's not so much odd as unusually good. [May 2007, p.102]

Everywhere ageless rock'n'roll brio comes freighted with careworn sagacity. [Mar 2017, p.93]

Lifeline is a classy record that never outstays its welcome. [Sep 2008, p.98]

Tankian has created a forward-thinking album that swerves convention. [Dec 2007, p.98]

A heady cultural cocktail where the Sahara meets the Rising Sun. [May 2020, p.87]

A piece of music caught between the human and alien, the reassuring and the uncanny. [May 2020, p.91]

For Radio Wars, producer Dan Grech-Marguerat has opened out their sound, but the atmosphere of intrigue remains. [Apr 2009, p.98]

There's gentle humour to take the edge off but this is haunting, impossible beauty. [Jul 2025, p.80]

The results are truly beguiling. [Jul 2009, p.104]

Though the shadows of Wilson and Lennon/McCartney loom large over this latest psyche-pop platter, the Apples tap into a tradition of classic pop songwriting rather than merely plagiarising their ancestors.

Their ability to serve up soulful, clearly hard-lived songs - think bespoke merge of Gram Parsons, Glen Campbell, Todd Rundgren, Fleetwood Mac and Supertramp - without sounding kitsch is quite some feat. [Sep 2025, p.83]

Tapping myriad trusted influences yet distilling something uniquely corvine, it's a thrilling return. [Apr 2024, p.82]

Withering, witty and clever. [Apr 2011, p.94]

Power sings in an emotion-laden, ever-modulating voice that summons the spirits of Tim Buckley and Tim Hardin as readily as Sibylle Baier or Sandy Denny. [Aug 2016, p.93]

More spacious acoustic currents entwine to create softer, calming reveries every bit as difficult to resist. [Jul 2015, p.90]

It's an adrenalin rush to experience rather than listen to, and the 11 tracks are over too soon. [Nov 2020, p.81]

In short, it's the kind of pop music that works in any era. [Aug 2013, p.89]

This fourth album takes then back to the headlong kitchen-sink pop of their excellent 2009 debut Jewellery. [Oct 2015, p.95]