It's a hypnotic mid-paced but hard-sounding beast which yields more with each play. [June 2002, p.112]

It's too easy to mistake them for any number of other bands--Editors, Maximo Park, The Futureheads all spring to mind--but if it's not original, it's still done weell. [Jun 2009, p.125]

This still shows renewed ambition, broadening the cool, Eno-inspired palette of his previous work. [Jun 2009, p.124]

Before The Frost... is as comfortingly familiar as one of Chris Robinson's kaftans. [Oct 2009, p.108]

Interplay sees him continuing the retro-futurist experiment. [Apr 2011, p.102]

All 14 tracks here use Yeats's verse, and while it's a natural fit, occasionally, as on The Song Of Wandering Aengus, Scott's over-enunciation can overwhelm. [Oct 2011, p.130]

Glistening, handcrafted pop. [April 2012, p.106]

An enchanting snippet of life in the left-field. [May 2012, p.106]

Part cipher, part siren, Minogue's odd power is underlined: it's not always clear quite what she does, but she does it brilliantly. [Aug 2012, p.115]

When they really hit their Ultravoxian stride on Clipped Wings or the piano breaks through the wall of synthesizer on Migrating Clay Pigeon, they're really quite spectacular. [Jul 2012, p.107]

Shocking, in the best sense. [May 2013, p.99]

Marchant is at his best on the more forceful material. [Aug 2013, p.99]

The third album since the band's 2007's reunion is low on overt politics, but high on autumnal jazz, Bacharach-ian swing, easy-going funk and relaxed charm. [Jun 2013, p.93]

Cole's beats may differ but she speaks the same language of shadows and longing. [Sep 2013, p.100]

Both sides [metal and pop] work well individually, but bolted together it sounds confused. [Sep 2013, p.100]

Not for the faint-hearted, Kilo packs a bracing, powerful punch. [Jun 2013, p.108]

A welcome return for a long-lost treasure. [Apr 2014, p.116]

It's not particularly pretty in places, but it is a hellishly good time. [Apr 2014, p.110]

With sympathetic production by reggae stalwart Mike "Prince Fatty" Pelanconi, the results combine Janet Kaye's lovers rock, the Wailers' pop years and the sound of Compass Point studios. [Jun 2014, p.107]

As ever there are reservations about Molinari's blase attitude to the second-hand song title, but it's still a solid, engaging set. [Jul 2014, p.111]

Oddly enjoyable. [Dec 2014, p.110]

[The songs] slow drift proves compelling, in a faintly Virgina Astley way. [Jan 2015, p.131]

A deeply involved performance such as this demands an involved listen, but with concentration (and maybe a little bit patience) Moogmemory marks a glorious return. [Apr 2016, p.103]

File under soundtracks to mescaline days and animal sacrifice nights. [Jul 2016, p.104]

Comically, the group never actually met while recording it. Imagine what they could do in the same room. [#361, p.112]

There's an air around The Exodus Suite of something not quite being finished. [#361, p.114]

[Hollow Bones] is Rival Sons' finest work yet. [Aug 2016, p.115]