With Pedro de Dios Barcelo's vocals so Andalusian-accented even other Spaniards have trouble following. No Matter: their readiness to rumble transcends such trifles. [Feb 2016, p.111]

A collection of jangly guitar pop that struggles to locate a niche within their favoured genre. [Mar 2019, p.116]

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

The world may have moved on but they haven't, so '80s funk backdrops merge with Sweet pea Atkinson and Sir Harry Bowen's classic soul vocals and some biting surreal lyrics. [May 2008, p.141]

These songs are Blake at his best and most sonically inventive. At 75 minutes-plus and 17 tracks, though, the whole presents a challenge at odds with the sensitivity of those romantic reveries. [#361, p.117]

As befits a title meaning "peaceful," Eirenic Life is background balm for modern life. [Aug 2017, p.109]

Everything Now offers an underwhelming kind of overload: too much, but still not quite enough. [Aug 2017, p.113]

Weird Drift is a lighter and less oppressive affair [than Love & Devotion]. [Jun 2014, p.112]

Thier fourth album is a step back in the right direction. [Jun 2010, p.120]

Downright terrifying fusion of bass music, pagan folktronica and snarling guitars. [Sep 2013, p.104]

The result is undeniably lovely, if never truly transcendent. [Jan 2020, p.114]

Unpolished and unhurried, Peace Trail is another charming stop on Young's long and winding road. [Feb 2017, p.108]

Ultimately Smile is a case of what might have been, and after all this time that's probably only to be expected. [Dec. 2011 p. 140]

The result is that a few songs in you find yourself rather craving a bit of imperfection, something scruffy and incorrigible to disrupt all this generic rhythm and gusto. [Mar 2016, p.116]

Once again, then, it's a case of could do better. [Apr 2008, p.115]

It just about lives up to the hype. [May 2008, p.136]

So while the agit-prop lyrics say little new, the best tracks--'Barcode,' 'Hit From The Morning Sun,' 'Julian' and the title track--are convincingly atmospheric. [Mar 2009, p.102]

Tennis' obvious strength is in their constant stream of deftly-executed melodies. [April 2012, p.105]

The results are hyperactive and punky. [Jun 2009, p.117]

And while there's no escaping the notion This Is War would be easier to love could Leto decide whether he wanted to be in U2, Linkin park, or Marillion, one can't help but admire his style. [Jan 2010, p. 117]

Meteora is less an artistic endeavour than an exercise in target marketing. [May 2003, p.104]

The follow-up is an equally passionate, turbulent affair, sounding, oddly, like a cross between Foreigner and the Red Hot Chili Peppers.

The only problem is Slim Shady. As Eminem outgrows his old alter-id, so the obligatory pantomime villainy, skits and crass cameos by Shady Records signings become a hindrance. [July 2002, p.109]

The vocals make Savage Hills Ballroom an acquired taste, but those who enjoy a bitter pill will swallow it whole. [Oct 2015, p.117]

Powerhouse is a string statement: galvanised, streamlined, charged emotionally until sparks fly. [Jan 2019, p.113]

It might not add up to a must-have, but it's good to hear Springsteen with the pressure off. [Jun 2006, p.112]

A return to their roots. [Aug 2006, p.113]

There's so much going on, why hold it back by singing from a half-hearted songsheet? [Feb 2018, p.111]