Their eighth album is no departure. [Jan 2011, p.135]

Cited as a missing link between Radiohead and Massive Attack following their self-titled 2007 debut, the Leeds outfit here start to live up to the hype. [Mar 2011, p.115]

This is a deeply trippy record. [Jul 2014, p.100]

A touch more light amid the shade, though, and this would be a more redemptive listen. [Aug 2013, p.95]

It's sometimes harrowing, sometimes beautiful and quite often both. [Jun 2012, p.105]

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

Left to her own devices, she radically strips back her earlier material and it works. [Nov 2018, p.111]

So retro it's pratcially an historical document. [Mar 2005, p.100]

Even if Avenged Sevenfold are guilty of occasionally overreaching in places here, it's undoubtedly made them more interesting. [Feb 2017, p.117]

Imagine the grumpy Northern bastard child of BBC Radiophonic workshop wonk Delia Derbyshire and horror-proggers Goblin. [Nov 2012, p.94]

Expansive opener, 'Crocidile' finds them locked into the pulsing techno groove that made 'Born Slippy' so maddeningly addictive. [Nov 2007, p.148]

Hornby and Folds would seem to be a good fit in the checkered history of author/musician collaborations. And so it proves, up to a point. [Oct 2010, p.107]

Melodic, expertly crafted and laced with wistful emotion, the only thing missing is the element of surprise. [Apr 2013, p.113]

A second Oasis album to better "Standing On the Shoulders Of Giants" and "Heathen Chemistry," but one too, that promises so much only to fall so short. [Nov 208, p.104]

Recorded in 11 days in Nashville and LA, National Ransom sees Costello continuing his obsession with bluegrass and Americana, under the watchful eye of producer T-Bone Burnett. [Dec. 2010, p. 104]

A high-gloss, vocally gymnastic collection of '80s-referencing dance pop concerned with love and love gone wrong, can be a little full-on. [Aug 2009, p.107]

One to bask in. [May 2013, p.94]

Sounds a lot like a world-weary J Mascis fronting Teenage Fanclub. [Mar 2003, p.108]

They still know their way around a pretty tune, though, and they still understand the value of smart sweetness. [#361, p.112]

Now fully reinvented as a quietly reflective singer-songwriter blessed with good taste and emotional insight, his second solo album, Women And Country, is more than worthy of the family name. [Jun 2010, p.132]

His fourth album finds him backed by a band for the first time, and collaborating with songwriters. The result sit somwhere between Buck 65 and Everlast, alebeit more erudite lyrically. [July 2010]

This album gently shimmers when you want it to dazzle. [Jun 2014, p.121]

Its tight-wound electronica is perfect for anyone wanting a visual-free sensation of mounting suspense in the comfort of their own home. [Sep 2017, p.113]

His ambitions, and trademark gruff delivery, are here assisted by a new generation of drum'n'bass producers. [Aug 2013, p.96]

There's an intriguing musical intelligence operating underneath. [Oct 2015, p.113]

The definition of a mixed bag. [Nov 2018, p.109]

He never sounds hurried, but Gentle Spirit overflows with ideas, albeit ones mostly from circa 1972. [Oct 2011, p.131]

It can feel on occasion like being rhythmically walloped round the head with a history book, but when Hamilton properly locks into the immediacy of his and Kim Moyes's immense electronic grooves, its undeniably powerful. [Nov 2013, p.114]