This is a record so richly involving that it promises to throw up fresh delights weeks, or even months, down the line. [Apr 2010, p.113]

Verity Susman's wayward, fragile Nico-lite vocals will either delight you or drive you nuts. [Mar 2003, p.102]

Drew's work is lyrically dense and confrontational, but the music is blissfully rich and specious. [Sep 2012, p.100]

The album is drenched in the cosmic swirl of warm synths and dreamy atmospherics. [Dec 2017, p.106]

This is a soul-baring and lovely record. [Dec 2018, p.108]

Betters his 2015 landmark, Integrity. [Mar 2020, p.119]

It's thrilling stuff and a reasonable guide to where the Klaxons are heading with Surfing The Void, this dense, doomy, psychedelic album with its tough punk edge. [Sept. 2010, p. 112]

One of the finest of his career. [May 2020, p.109]

Beautiful stuff. [Jun 2020, p.94]

By the time he gets to the whiskey-soaked lament 'Whispered Words' you'll be wishing you had a back porch. [Mar 2009, p.93]

The sense here is of two artists drawing creative sustenance from new light. [Jul 2018, p.112]

The 21-year-old's eclectic debut oozes attitude, his pithy social commentary binding together sonic excursions into breezy funk-punk, poundshop hip-hop and indie tearjerkers. [Sep 2017, p.115]

An impressive pop artefact, propelling its creators clear of the current garage-rock morass.... It's the sound, if not the smell, of teen spirit. [May 2003, p.111]

Braver Than We Are is the best thing either has done in decades, addressing as it does both Meat Loaf's less powerful voice and [Jim] Steinman's enormous back catalogue. [Oct 2016, p.109]

A spirited version of Wild Mountain Thyme salutes his influences but it's Head's own songwriting that draws attention. [Nov 2017, p.113]

The sort of tunes The Beautiful South mislaid on the nation's pub jukeboxes years ago, often tinged with a soulful alt-country lilt. [May 2005, p.116]

Dare may share some vocal similarities with Jeff Buckley and James Blake, but the overall effect is utterly distinctive. [Apr 2020, p.106]

It's business as usual, but when business produces songs as lovely as November's sumptuous indie-pop it's hard to resist. [May 2020, p.110]

Ambitious and beautifully wrought, Dear River should mark Barker's entry into the big leagues. [Sep 2013, p.98]

Pleasingly, this is the Wire's best new music since their glory days in the late '70s. [Aug 2008, p.145]

Confirms her as the most compelling new pop star around: half doomed romantic, half mordant cynic, with a distinctively conflicted vision of how love, fame and America work. [Mar 2012, p.94]

It's a lush, moving affair. [May 2015, p.103]

It's a multilayered, detailed affair, which proves that 27 years after their debut, their edge is still keen. [Aug 2017, p.108]

A lovely, tender album. [Jun 2015, p.110]

A marvellous, surprising comeback from a forgotten talent. [Mar 2003, p.103]

Her aching sincerity’s another major plus; that she can get away with Caged Bird’s Stevie Wonder-isms and Fallin’s near plagiarism of James Brown’s It’s A Man’s World speaks volumes.

London Sessions is a solid memento of the group at their peak, albeit closer to a Peel session than a live album. [Feb 2011, p.120]

It's an impressive return. [Sep 2019, p.111]