While his satanic-hick shtick hasn't evolved an iota since the first Hellbilly Deluxe, there's no denying that he knows his audience. [Mar 2010, p.97]

Lovable, albeit irritatingly so.

Go Forth is addictively oblique stuff, veering joyously between budget Gary Numan, scene elder statesmen Fugazi and the Pixies in their surf-rock period. Shredding instinct and convention along the way, Harrington has forged something compellingly original here. [Nov 2001]

Dizzy might feel wobbly on their feet, but Baby Teeth gives them an impressively solid foundation on which to build. [Sep 2018, p.110]

Spine-tingling electronic experiments from Denmark. [Aug. 2011, p. 127]

If there is a sense that this is The Strokes' last chance to carve an enduring career for themselves, then it's a challenge they've decided to tackle without any reinvention of their trademark sound. [Feb 2006, p.96]

What we have here is a Killers record made without the Killers that sounds like The Killers and is almost as good as The Killers, but not quite. [Oct 2010, p.101]

However appealing Sugar Mountain may be to some, the storytelling alone will prove too much for others. [Jan 2009, p.127]

Edgar Jones offers up grit and depth often lacking in modern production. [Jun 2017, p.109]

There's no doubting her sonic ambitions, the glowing multitracked vocals and eclectic instrumentation here resembling a kind of lo-fi, one-woman version of Animal Collective. [Jun 2009, p.117]

There's still a whiff of contrivance about it that spoils the good work. [May 2002, p.112]

It's the sinuous, propulsive bass of Malka Spigel (Newman's wife and co-founder of the Swim~label) that takes centre stage, never more so than on instrumental opener Faster, the first of several tracks to invoke the ghost of New order. [Jan 2010, p. 119]

While there's plenty to admire, Magic Chairs feels like th work of a band who can't quite allow themselves to make the anthemic indie-rock of which they're clearly capable. [Mar 2010, p.101]

Enigmatic dubstep maestro's spooky follow-up. [Aug. 2011, p. 127]

There are moments of brilliance--the title track features a stunning guitar section, while Every Little Thing is a powerful reminder of the importance of self-forgiveness--yet First Flower occasionally fails to live up to its predecessor. [Nov 2018, p.102]

A big talent but no Billie Holiday. [Sep 2013, p.102]

Generally there's a lightness here he'd do well to retain. [Oct 2006, p.118]

Their vampiric draining of the past cleverly becomes an energizing indie infusion. [Nov. 2011, p. 142]

Artistically, it struggles to cross the velvet rope and push on into greatness. [Jan 2011, p.134]

His sometimes-still-too-warbly voice is the main instrument on this follow-up, but it's pockmarked with new friends' influence. [May 2013, p.96]

Hardly essential, but brimming with late summery charms. [Nov 2009, p.101]

Brand New Eyes sounds like an energised romp through the diary of a small-town American gal--albeit one struggling to reconcile Christian views with the celebrity afforded by more than two million album sales. [Nov 2009, p.111]

When the songs are powerful enough, it all works gorgeously. But elsewhere, songs as Ordinary Life or Nigel & Fiona drift towards diluted boho chic. [Nov 2001, p.122]

Their fifth album is more about the song and less groove-based than their previous output. [Jun 2013, p.90]

A sweetly gloomy affair mostly for guitars and voice. [Aug 2017, p.105]

Often sad yet always warmly sympathetic, it's a well-weighted, smartly observed collection of attractive pop. [Jun 2010, p.132]

A little too straightforward. [Oct 2019, p.110]

Part cipher, part siren, Minogue's odd power is underlined: it's not always clear quite what she does, but she does it brilliantly. [Aug 2012, p.115]