The Gallaghers sound more comfortable than ever in their skins. [Jun 2005, p.102]

The heartening sounds of an old master at work. [Oct 2011, p.117]

Furiously innovative first offering. [Feb 2020, p.112]

This is their strong set of songs in years. [Feb 2018, p.108]

A broken heart has long been the conductor for Adams's talent--it's a testament to the quality here that he sounds so thoroughly broken this time. [Mar 2017, p.107]

Despite the voices changing from one song to the next, Marshall never lets you forget you're listening to the same LP. Mission accomplished. [Apr 2020, p.109]

It's when Moorer drops her guard on Like It Used To Be, Thunderstorm/Hurricane and the self-lacerating Mama Let the World In that Down To Believing bursts from black and white into full colour. [May 2015, p.109]

Quietly thrilling. [Feb 2002, p.113]

The songs here are supremely catchy and delivered with the kind of sleek sheen you'd expect from a Katy Perry or Kesha record, but it's the inventive instrumentation and surprising twists they take that give Happy To You its edge. [May 2012, p.104]

Throughout the songs share a similar colour palette, but vary in tone, texture, technique. It's the sound of a band enjoying the discovery of their sound. [Sep 2019, p.115]

Bands aren't suppose to peak on their sixth album, but Okkervil Rover are more tortoise than hare and they've been building towards I Am Very Far since they convened back in 1998. [Jun 2011, p.118]

Stronger on revved-up dancehall than coffee-table soul, it's on the collaborations they really come into their own. [Feb 2011, p.125]

A record that finally fulfils sampling's original promise of generating fabulous new sounds from skilfully lifted bits of existing tracks.

MACHINA/the machines of God is, mostly, a wonderful rock album.

It's a raucous, righteous performance, one that underscores IDLES' current status as Britain's most vital band. [Feb 2020, p.112]

Powerful soul medicine best taken a track at a time. [Nov 2012, p.101]

Simultaneously earthy and ethereal, pieced together in the loft of his house in the village of Cellardyke and left to fly free. [Apr 2019, p.118]

The results okays to their strengths. ... There's a lightness of touch here lost since An End Has A Start a decade ago. [May 2018, p.108]

The music is as compelling and versatile as Polachek's voice. [Mar 2012, p. 97]

Both stunning and original. [Jun 2018, p.106]

Although just 26 minutes long, it's an unexpected triumph. [Apr 2009, p.115]

The melodic flow of Alchemist;s beats perfectly offsets his partner's raw, unfiltered delivery. [Aug 2020, p.107]

So is it White Ladder II? In a word, "yes." [Nov 2002, p.94]

It's the gritty funk of the title track and production turns from Mark Ronson and Donae's that make this an outstanding hip hop album, establishing Bizzle as a worthy rival to the similarly eclectic Dizzee Rascal. [Nov 2009, p.109]

A soul-warming treat. [Jun 2011, p.116]

There's a slightly scattershot quality to 21 that suggests that Adele is not quite the mistress of her own destiny. Greatness is tantalizingly within reach, though; perhaps she just needs to grab the wheel, and quickly. [Feb 2011, p.106]

On an album tat is filled with gems, Jenny Lewis is the crown jewel. [Sep 2007, p.85]

Music as tense as Pink Squirrel and as Kraftwerky as Tokyo Metro comes together quite happily in the snarling Creep Show sound. [May 2018, p.107]