The results are spooky, poignant and impressively unique. [Apr 2010, p.111]

Their first album since 2009's Broken, gains strength from being all Gahan, all the time. [Jun 2012, p.111]

The core subject matter remains Gedge's mordantly fatalistic view of love but the ambitious nature of the project seems to have put a spring back in his step. [Oct 2016, p.113]

Despite a few missteps her and there, it's good to have them back. [Oct 2015, p.109]

A promising start, but there's room for improvement. [Oct 2018, p.108]

Rough, scuzzy and rasping, there's plenty within its tattered edges to enjoy. [Oct 2014, p.120]

Perhaps not something you'd put on to get the party started, Yung Lean has though nailed the comedown. [Jan 2018, p.114]

For the most part, it works. [Nov 2012, p.108]

Brown's pleasant if largely unremarkable voice rid[es] a set of lean and sultry funk grooves. [Nov 2006, p.149]

Stewart keeps that see-sawing balance alive here. [Jan 2015, p.128]

Dirty Projectors' David Longstreth deserves praise for the way he's reinterpreted "Damaged." [Dec 2007, p.116]

A 1991-2001 covers record is an odd move after just two solo albums, but he carries it off with unusual choices and twinkling instrumentation. [June 2008, p.137]

Admittedly, the mostly spoken Musical Theatre is indulgent twaddle and she often squawks where others sing, but there's Hole-like grit to both Life In Oink and the raised middle finger of Hate You, where cascading choruses butt against stroppy verses. [Jun 2018, p.113]

It's beguilingly slapdash, but its brevity - seven songs in 23 minutes - nonetheless makes this a frustrating listen. [April 2012, p.98]

Take Me Over makes a misplaced attempt at funk, which grates slightly, but it's hard to dislike the well tuned synths and dreamy choruses of tracks such as Hanging Onto Every Heartbeat. [Apr 2011, p.101]

Fascinating thumbnails of the blissful, abstract funk which was to come. [May 2012, p.115]

It's not as electric as some performances, but it's no wondder he had a heart attack soon after and retired...for now. [Apr 2010, p.126]

It's perverse, contrary and, on stand-out tracks No Home Without Its Sire and Just For Love, surprisingly engaging. [Aug 2002, p.120]

Ultra is one for the hardcore fans. [Oct 2016, p.113]

There's nothing wrong with this record... Yet it's only on Feel The Beat, in which he lets his ego off the leash, that LL gets into gear. [Oct 2004, p.128]

Despite some strong material, the relentless gloom gets a little wearing well before the end. [Nov 2016, p.113]

Rather too many hats, perhaps, but still an impressive showcase. [Mar 2013, p.105]

Imagine a hillbilly White Stripes and you're almost there. [Oct 2014, p.119]

Their 14th album sees them once again focusing on stripped down Nuggets-era garage rock. [Oct 2012, p.107]

The record suffers from a surplus of hired guns. [Nov 2014, p.112]

It's heartening to see a band still in the grip of an ideas overload 11 albums in. [Nov 2012, p.94]

These skeletal blues are for addicts only. [Nov 2012, p.98]

While Reflektor isn't so flawed as to strip them of their sash, it's a wobble on a podium, a needless error of judgement that could have been easily avoided had they heeded that other old truism. [Nov 2013, p.100]