Alicia Bognanno's diary-like vocals still slide from ingenue-like to raging screams and back again but now her delivery is a little more taut. It makes the bits where she loses control feel very real. [Dec 2017, p.102]

Comes laden with flashy A-list cameos. [Jun 2003, p.96]

Bowie's best music since Scary Monsters. [Oct 2003, p.101]

Intriguing, ambitious, but flawed. [Apr 2006, p.116]

All told, a successful modernisation of an old formula. [May 2009, p.118]

They have expanded their joint sabbatical into an album that ram-raids its way through baroque pop, garage rock and Byrdsian harmonies. [Feb 2011, p.118]

Anyone able to go to sleep without checking the wardrobe for monsters is unlikely to find much of interest here. [Dec. 2011 p. 137]

There are some exquisite songs here. [Nov 2016, p.111]

Snow Bound continues to showcase a jangled set of nerves and guitars. [Nov 2018, p.105]

It's full of compact songs that steal your heart and leave. [Dec 2018, p.107]

On it's own terms--striving to be more interesting than the standard album--Hvarf-Heim is clearly a success. [Dec 2007, p.114]

You leave the record feeling a bit like you've visited a museum. [May 2014, p.116]

Uptempo grooves such as Bobcat Gold Wraith may be too workmanlike to build up much momentum, but there are some lovely moments here. [Jul 2010, p.128]

What really matters here is texture, delivered in abundance as she plucks and picks her way around harps, guitars and all manner of acoustic backing, her celestial freak-folk voice bewitching the listener. [Oct 2010, p.103]

A straightforward, warm-sounding album. [Dec 2004, p.138]

That's not to say these 11 tracks lack merit, just impact, such highly-strung, right-angled songs as Right In Time frequently becoming bogged down in experimentation. [Jun 2003, p.96]

Trouble feels like a multi-faceted, compound eye of a record, picking up different sides to every story and blending them into a smooth, undeniably odd whole. [Mar 2014, p.113]

An acquired taste, but an enjoyable one. [May 2013, p.94]

It swaps the ramped-up volume of the past for a jittery urgency that mirrors 21st-century urban Britain. [Nov 2017, p.108]

This is a starkly beautiful suite of music by a band who--after two decades--just keeping growing in stature. [Oct 2018, p.115]

He's enjoying his music far too much to stop now. And so, for the matter, are we. [Oct 2018, p.106]

The singer hits new highs and broadens her pop horizons. [Mar 2014, p.118]

Heralds a move from mine-shaft fug to West Coast freeway haze. [Jun 2005, p.120]

His imaginative, smartly delivered lyrics hold the attention during those moments when producer Lewis's beats don't quite match them for sparkle. [Apr 2013, p.94]

Part Of The Light finds him in dream-like mode, and though he'll never rival Guy Garvey for loquacity, he's so comfortable in his own skin that To The Sea details a cheery trip to the seaside and his voice soars where it once growled. [Jul 2018, p.112]

Ling's unhinged bluestocking vocals lift strange images out of the volatile electronica. [Dec 2018, p.104]

It's the anti-hygge of records: cold, hard, and anything but comfortable. [Feb 2017, p.111]

It's Hynde who steals the show with her lip-curling vibrato, part Elvis, part Dusty, never more intoxicating than on the seductive 'Almost Perfect.' [Jul 2009, p.129]