It makes for one of the most delicious albums of the year. [Sep 2016, p.113]

Ultimately, Qualia's propulsive grooves make it the perfect soundtrack to a journey. [Nov 2017, p.115]

He lets the currents take it where they will, from the churning tumult of The Wave to the cresting, Bon Iver-ish Broken. [Dec 2019, p.113]

Marshall sounds at peace here, and back to his best. [Apr 2020, p.110]

It's perhaps not a career peak but it's not too far away. [Oct 2015, p.102]

As ever, she's at her best when her guard is down. [Oct. 2010, p. 113]

[Bryan Ferry] corkscrews the concept in an instrumental tribute nit only to the very first cocktail'n'cocaine era but also to his own serpentine melodic gifts. [Mar 2013, p.101]

Pomposity reigns and the songs are too one-paced to ignore it. [Mar 2013, p.104]

As an album, it's something of a revelation; the stunning sound of an artist being born again. [Oct 2015, p.113]

There's a potent '80s smoke machine-ambiance wafting through the plush, slow-fizz synths and padded percussion that fill their debut full-length. [Oct 2013, p.100]

A real leap forward. [Apr 2005, p.126]

While there is much to admire, some of the wilfully discordant tunes grate on subsequent listens. [Nov 2008, p.107]

Rarely makes for easy listening.... though the album's second half is notably more harmonious. [May 2016, p.104]

Some detached ambient pieces remain, but at its best it makes for luxuriant listening. [Sep 2013, p.106]

A great leap on from an already remarkable debut. [Oct 2012, p.114]

Sigworth is Moyet's musical soulmate and this is her best LP in decades. [Jun 2013, p.103]

Snapshots of old stand-bys come through, but it's in tunes such as the disco tribute Rainbow and the clonky piano of The Drifter that his gift for marrying the modern to history, both recent and ancient, really shines. [Apr 2015, p.108]

It's hard to find anything here that will break them out of the retro-rock ghetto and into the 21st century. [Sep 2016, p.102]

There are times when it can feel a little festival theatre tent. Even so, the musical chemistry is clear, and at best, captivating. [Feb 2017, p.112]

They sound revitalised by the radiance of these songs, liberated from the heavy burden of being the Manic Street Preachers. [May 2018, p.102]

Their debut's wilful eccentricity is mostly unconvincing. [Mar 2020, p.119]

Hey Joy, the second track on The Districts' fourth LP, is a moment of near-perfection. ... It's a bar the rest of You Know I’m Not Going Anywhere never quite reaches, though, it comes close. [May 2020, p.106]

Zebra finds Georgopoulos in purely instrumental mode, boundary-blurring jazz, African, Balearic and kosmische influences with mixed results. [Summer 2018, p.106]

A concise soundtrack of garage racket, gospel-informed blues, glam balladry and piano confessionals. [Jun 205, p.104]

Matt Shultz has never sung more convincingly, but these are big, ideas-drenched songs, packed with beguiling twists and turns. [Jan 2016, p.108]

A wildly inventive yet mainstream sound that suits her lyrics. [Mar 2016, p.106]

An utter gem. [Apr 2017, p.110]

Under all the Iggy Pop mumbling, splintered ballads and warped Western themes, it seems they keep bubbling back up. [Oct 2017, p.105]