The general vibe is of music for well-upholstered hotel suites. [May 2020, p.104]

A variable trip. [Dec 2016, p.105]

It's tempting to say that Groves makes music mature beyond her tender years, but tha's wrong. It would be stunning no matter how old she was. [Jun 2009, p.117]

Death Magic feels like the work of a band who have pulled themselves together, but might be more fun falling apart. [Sep 2015, p.110]

Butler's gang of misfits may fall further below the radar on the back of this, but artistically he's on to something. [Jun 2014, p.112]

The voice and their lyrics sit differently, somehow, against Knopf's arrangements, which can be by turns delicate, mischievous and furious. [Nov 2015, p.105]

Their third album is their most developed yet.... What's missing is that sense of real emotion, the euphoria or misery that makes for great pop. [Feb 2016, p.108]

Glows with retro colour. [Jul 2004, p.110]

Almost defiantly ramshackle the mix of classy songcraft and threadbare instrumentation nonetheless makes for a compelling listen. [Jun 2014, p.118]

Settle Me Down is an elegantly executed ballad and Dark Waltz evokes Creedence Clearwater Revival at their finest, but the unspectacular Another Night gets bogged down in sub-Springsteen-isms. [May 2014, p.115]

McCabe details a stoner's humdrum city life a touch too convincingly at times, but the spirit of musical adventure is nonetheless commendable. [May 2004, p.111]

South Coast Krautrockers' quirky, moody fourth. [Feb. 2011, p. 114]

A perfeclty poised, richly textured set of light-footed psychedelic pop. [Sep 2003, p.101]

Hard, reverb-heavy, yet fluent guitar arabesques topped by husky, yearning, sorely troubled vocals. [Nov 2000, p.110]

An often-inspired collection of eccentric pop songs and unexpected proggy workouts. [July 2002, p.108]

An astonishing reassertion of relevance for Plant. [July 2002, p.118]

A set of songs so cockle-warmingly familiar that you're left scanning the credits to see who did them the first time. [Oct 2002, p.118]

Happiness may remain an elusive quality in AIC's music, but variety is not. Be it the acoustic parts in Fly or elegant a cappella vocals of Maybe, they juggle power and poignancy like masters. [Sep 2018, p.110]

Groundbreaking and mind-boggling. [Mar 2012, p.111]

The meticulous arranged synths, crackling guitars and electronic glitches ensure the attention never wavers. [Feb 2016, p.114]

What it lack in surprises it makes up for in songcraft. [Oct 2017, p.108]

While tracks such as This Day Is A Loaf could be straight out of an album by Stevens himself, it's when the band stretches out, on the gentle but unsettling Hosanna In The Forest, that they really excel. [Apr 2011, p.101]

Everything here sounds like a happy accident and that's part of the appeal. [Nov 2015, p.108]

Mount's intoxicating amalgam of past and present is the real thing. [Apr 2014, p.114]

It perfectly captures the oscillating other-worldliness of their sound. [Oct 2016, p.110]

The Helio Sequence add lucioous electronic icing to their songs but too often this mearly masks predictable indie rock. [Mar 2008, p.104]

There is sparkling pop invention in abundance here, and, homage or not, that surely transcends any decade. [Jun 2011, p.106]

Women & Work strikes a party-hearty country-soul vein. [Feb 2013, p.103]