Moments of spine-tingling transcendence outweigh those of aimless noodling. [Aug 2017, p.110]

At times her dark warnings about the devil and bluesy intonation sound affected, but full marks for trying out new ground. [Dec 2001, p.127]

An odd, deliberately unpunchy comeback. [Aug 2016, p.114]

When it's muscular, it can be very good, but too frequently it veers off into more confused, mystical or plain boring territory. [Jul 2011, p.114]

Jakob Dylan shakes off dad's shadow to make music that sounds like... Tom Petty. [Feb 2003, p.109]

It's about as vibrant and sweat-streaked as mainstream pop gets. [Dec 2002, p.105]

This second album us far from flawless, with too many songs outstaying their welcome. [Sep 2013, p.98]

Tesfaye can't decide if he's having the best time f his life or the worst. [Feb 2017, p.119]

A five-year sabbatical finds them both refreshed and free of rancour. [Mar 2016, p.111]

Lust Lust Lust is an accomplished set. [Jan 2008, p.109]

There are no hidden depths to find here, but sugar rushes aplenty. [Sep 2017, p.106]

Eve is, ultimately, one of those moody, chain-smoking nights in on your Jack Jones, where only the intimate anguish of a deft alt-noisenik-turned-twisted balladeer will do. [Sep 2016, p.114]

Sampling Michelle Obama on No Man Is Big Enough For My Arms feels glib, while Vale aspires to Solange-like authority but, unlike their voices never quite strikes the right note. [Nov 2017, p.111]

A specialist interest. [Feb 2017, p.119]

It's during the quieter moments that Fearless discovers real depth. [Mar 2020, p.117]

[It] mines a similar seam of hard rock to that pursued by countrymen Wolfmother, only without so many Black Sabbath influences. [May 2007, p.129]

Overall Lionheart is an uneven listen, with some of the quieter songs blending a little too politely into the background. [Feb 2018, p.112]

Halo's score is detailed and meticulous - but far more sombre than her usually playful, exuberant records. [Jun 2020, p.100]

[The new sound] works well on single 'Cities Burning Down,' which glides by catchily with a curious mix of muscle and lethargy, but it's less welcome on the cod-psychedlic 'Let's Be Kids' or the trite 'Golden Web,' both which are cosmetically seemless, but lack depth. [Apr 2009, p.105]

It stays true to their quirky synth-with-Indian-influences sound, while adding club beats, but displays a penchant for half-explained, possibly sinister scenarios involving, variously, alcohol, agoraphobia and hospitals. [Apr 2011, p.95]

Initially arresting, after a while it gets claustrophobic, leaving the listener punch-drunk and weary. [Jan 2003, p.111]

Cabic is most effective when he's closer to home. [Sep 2015, 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]

True, the Estelle-sung can't Wait sounds out of place, but elsewhere this is an estimable example of making things just like they used to. [Sep 2013, p.99]

When Every Eye Opens grabs you by the lapels, on the pulsating "Keep You On My Side" and the Knife-like "Never Ending Circles," it's stunning. When it fades into aural wallpaper, at least it does it prettily. [Nov 2015, p.110]

It's their determination to flaunt their multi-instrumental credentials that derails some songs. ... Much more effective is when HMR exercise restraint. [Jan 2020, p.109]

There are worse things to listen to as society slides into the abyss. [May 2020, p.104]

Andrea Ferro's growls and Cristina Scabbia's soaring melodies just about rescues this from sounding as dated as its influences. [Feb 2012, p.107]