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

All you need to notice about Oui Oui... is that, together, these musicians can still rustle up a synergy no other band can imitate. [Dec 2012, p.102]

It's the album's dream-like middle section where the real alchemy happens. [Sep 2013, p.102]

Absorbing, if not exactly inviting. [Apr 2015, p.100]

Lilting protest number Corruption Na Stealing comes closets to discovering a rhythm of its own. [Apr 2018, p.111]

Gracie's at his best, however, when dialling it down for the high-end folk of When You Go or hanging out over the ragged edge for The Death Of You & I. [Jun 2018, p.114]

Ultra is one for the hardcore fans. [Oct 2016, p.113]

Overall this is a record that's as thrillingly dark and overwhelming as anything they've attempted to date. [Oct 2015, p.117]

It's hard to listen to this deeply disappointing record for long without wanting to revisit Vertigo instead.

There's a gnawing gutlessness at work here, which ultimately sells him short. [Feb 2004, p.101]

A less spirited affair, with little spark or enthusiasm. [Mar 2003, p.102]

He tackles unexpected covers to pleasing effect. [Mar 2002, p.120]

The usual blend of knockabout punk rock, nutty-boy ska and witty lyrics. [Jul 2003, p.108]

Features a few ropey grunge numbers. [Aug 2002, p.133]

Son of Evil Reindeer has a fun, collaborative atmosphere which produces some truly unique moments. [June 2002, p.123]

Even a saint would find their patience severely tried by this. [Oct 2003, p.118]

A ferocious declaration of independence. [Jan 2005, p.124]

David Lewis Gedge seldom received credit for his Sinatra-esque vocal prowess or Dylan-style lyrical insights when fronting The Wedding Present, but his subsequent Cinerama project is a far more intriguing and beguiling affair.

When it works, it's a glorious thing. [Sep 2012, p.108]

This sequel journeys into the light. [Jul 2017, p.111]

Their combination of surreal lyrics and Krautrock now sounds pedestrian. [Oct 2008, p.142]

He's not the first person to have exploited the uranium half-life of the '80s but on Confetti's doomy missile-silo clang and the brassy Robert Smith jive of Alchemy And You, he customises it smartly for a newly paranoid generation. [May 2011, p.112]

Sadly, their own sixth album lacks the drive of either Battles or Mogwai. [Aug 2009, p.113]

Son of Richard and Linda. Acorns can fall far... [March 2011, p. 115]

It takes a special talent to mine new gold out of acoustic songwriting, and Ben Howard just isn't it. [Nov 2011, p.135]

He fashions an album that's playful and dewy-eyed, without being juvenile. [May 2011, p.109]

Much as Get Direct and New Year's day cry to be fleshed out, the reggaefied Ask Me suggests another way forwards, while the fiercely intelligent songs Shame and Stay sum up all that's right about this most singular artist. [Apr 2014, p.112]

It all has an airy charm, though it benefits hugely from a Daft Punk-y electro injection on Rick l'Adolescent and Aller vers le Soleil, both which transcend cheerful pastiche. But Tellier's opulence has limits. [Aug 2014, p.114]