Silver Eye's strength lies with its strong sense of mood rather than any truly memorable material. [May 2017, p.104]

While the musical backing is occasionally sweeter than it is memeorable, Moss's narrative lyricism saves the day resulting in a rich debut that provokes fresh thoughts with each listen.

His aim is true, his enthusiasm genuine and even the one new self-penned track, Live It Up, slots in nicely. [Mar 2012, p.105]

Spacehopper is out there, yes, but not so out there that you can't still admire it from Earth. [Aug 2013, p.106]

Rogers's 63-year-old voice sounds uncannily well preserved. [Feb 2014, p.119]

It's a record that ups the style further but their slick, modern metal still lacks depth. [Oct 2014, p.115]

These are immaculately crafted songs. [Oct 2016, p.105]

No great leap forward, then, just a solidly impressive album. [Dec 2018, p.111]

Conflict was always at the root of Living Colour's sound, and finding a balance remains a challenge; even more so for a group whose members work together so occasionally. [Nov 2017, p.111]

Hippo Lite is brilliantly abrasive, any prettier blips overwhelmed by Real Outside's uncanny whirl or the ESP crackle of Corner shops. ... Such insularity only means you lean in, however, as close as possible to their intriguing transmissions. [Jun 2018, p.110]

The London Sessions isn't quite the hoped-for wholehearted embrace of the UK house nation, but it witnesses the reawakening of one of modern soul's most durable sirens. [Jan 2015, p.127]

The Last Hero won't make them any new friends, but those they have won't be disappointed. [Dec 2016, p.105]

There's a lack of emotional intrigue or maverick charm here that keeps everything at a shrug-inducing distance. [Sep 2003, p.100]

[The] dub deconstruction of second LP Con Todo El Mundo illustrates the trio's virtuosity at sculpting pleasingly languorous, stripped-down soundscapes. [Aug 2019, p.113]

Grace/Wastelands isn't quite the defining statement of his genius that his cheerleaders always insisted was just around the corner, but it demolishes the charge that his talent has been fatally squandered. [Apr 2009, p.98]

Another great find from Bella Union, there's not a weak moment on this engaging debut. [Oct 2011, p.124]

An intimate, close and enjoyably ambiguous record. [Jun 2020, p.94]

It may have been recorded in a church, but this is a record celebrating the celestial and the sinister in equal measure. [May 2011, p.126]

As the album goes on, however, Marks To Prove It becomes a heavy dose of reflection upon reflection and a similarity of pace means the songs begins to merge into one another. [Sep 2015, p.108]

A brooding collection. [May 2004, p.108]

There's less of Califone's rootsy side here and more floaty mood-pieces or doomy dance grooves. [Feb 2004, p.98]

A fiddly disappointment, as centreless as a B-sides collection. [Oct 2002, p.117]

It's difficult to hear what was wrong with most of the never-before heard material. [Nov 2000, p.101]

A lesson in untouched simplicity, raw groove and my-woman-done-left-me throat wobbling. [Jun 2003, p.94]

His high, thin voice won't grab everyone, but will generate a gentle glow for many. [May 2007, p.125]

There's all the usual yarn-spinning and nerdy wit here, but ... there's also a warmth and wisdom that no amount of lo-fi goofing can disguise. [Nov 2011, p. 135]

It's a more searing and cranked-up affair than its predecessor. [Jun 2013, p.99]

This fourth is no less essential for fans than the previous three. [May 2013, p.117]