While the limitations of their two-man line-up means that the music never takes flight in quite the same way, the austere likes of 'Fly Low Carrion Crow' still leaves an indelible mark. [Oct 2007, p.106]

Its surreal mix of chamber-pop, electro-funk and avant-garde noise is well executed, but it's so scatter shot, that, ultimately, it frustrates. [Nov 2007, p.137]

The accompanying impression of sincerity is enough to save unashamedly sentimental tunes such as Wedding Party and Two Children from mawkishness. [Jul 2012, p.96]

A daunting 32 tracks and some typically uneven quality control. However, there's a renewed freshness here. [Jun 2017, p.106]

In small doses, it's insightful and infectious, but after a whole album's worth of introspection Kasher starts to sound like a bit of a whinge bag. [Jan 2011, p.138]

Nothing quite matches its [Snow's] shock and awe and there's some of the old water-treading in Falling, but there's menace in the repetition of "my tears well up and cry for you" on the spooked Petals and she's never sounded quite so otherworldly as she does on Corduroy Legs. [Jul 2016, p.113]

Joyously propulsive... [Yet] there's little deviation from a straightforward palette of sticky basslines and boom-bap rhythms. [May 2012, p.95]

A concise soundtrack of garage racket, gospel-informed blues, glam balladry and piano confessionals. [Jun 205, p.104]

Peace Is The Mission feels like too much of a splurge to be enjoyable right through. [Jul 2015, p.109]

Inevitably, the revolution zeal dissipates, but their crowd-pleasing instincts remian intact. [May 2010, p.117]

Amid all the wanton airy-fairyness, this is just brilliant pop music. [Jul 2013, p.106]

They've mastered sounding unhurried but supertight. [August 2011, p. 113]

Crow still rocks. [Apr 2002, p.111]

A follow-up that's both more consistent and more predictable. [Sep 2013, p.104]

Quarter-hearted anthems such as Winner fail to recapture the desperate glamour and delicate optimism of their best work, making Elysium the definition of a mixed bag. [Oct 2012, p.104]

A dreamy, atmospheric record. [Oct 2012, p.98]

Bizarre and not a little perverse. [Apr 2007, p.117]

Rock Island will leave intrepid listeners feeling like they've glimpsed many shades of paradise. [Apr 2018, p.112]

Their fourth album is another collection of winning boy-girl-harmony-laden indie confections. [Jan 2008, p.106]

Happyness's second LP is deceptively well thought-out, deftly constructed around unusual chord changes, and laced with subtly eyebrow raising sonics. ... Making you wonder just how impactful this able trio might be if they properly pulled their finger out. [Jun 2017, p.106]

The lean on their punk metal roots as rawness and straightforward riffing dominate in an album that, despite missing Keenan, does recall their early-'80s heft. [Mar 2012, p.105]

His third album shows his mic skills to be only marginally above average--though given the right vintage soul groove he can raise his game. [Jan 2011, p.138]

The album possibly fails to deliver singles like Wolfgang Amadeus Phoenix did, but nothing here suggests unpaid debts, a splurge before the bailiffs come or a lack of confidence, despite the title. [May 2013, p.97]

The acoustic-only, antique-sounding folks songs of Realism are superficially less abrasive than 2008's Distortion, but beneath they still articulate black-humoured romanticism. [Feb 2010, p. 111]

Citay's fourth album hasn't moved far from the excessive Black Sabbath/led Zeppelin grind of their self-titled 2006 debut. Dream Get Together does, however, show more finesse. [Mar 2010, p.98]

It's a record to be applauded for its ambitions, even if the songs sometimes struggle to carry the weight. [Jun 2013, p.100]

A highly polished R&B-pop collection about every millennial issue from empowerment and self-love to mental health. [Sep 2019, p.112]

It's too wordy by half, but underneath the psychobabble lies the most solid collection of AOR you're likely to encounter this year. [Jun 2004, p.105]