Cafarella's falsetto takes some getting used to, but the strategy pays off handsomly on the title track's chiimiing melody and the angular strut of recent single "Disconnected," even if the high point is actually DFA-worthy disco epic "Criss Cross." [May 2010, p.126]

Butler's gang of misfits may fall further below the radar on the back of this, but artistically he's on to something. [Jun 2014, p.112]

Perfect Darkness further reinforces his reputation as the closest there is to a latter-day John Martyn. [Jul 2011, p.102]

Succeeds in sounding exotic. [Jun 2006, p.115]

But while their second album is lyrically all quiet desperation, boasting such giveaway titles as Once I Was Pretty and The Disappearance Of My Youth, musically it's an altogether more uplifting proposition of stately A-ha styled synth-pop. [Feb 2010, p. 112]

The sound of a seasoned crafstman at work, One For The Ghost is a record that radiates his customary warmth and intelligence. [Mar 2018, p.104]

Words are what sustain Push The Sky Away. [Mar 2013, p.97]

It spares us her bluesy, commercially unfriendly side and as a result she's made her best record since, yes, "Relish."

An intriguingly woozy melange of out-of-focus vocals, feedback squalls and metronomic beats, everything coming together just so on the compelling 'Nothing Ever Happened.' [Nov 2008, p.121]

What she lacks in lyrical maturity, she makes up for in heartful conviction, channelled through a voice that's by turns sweet, savage and gut-wrenchingly vulnerable. [Apr 2009, p.110]

Songs such as Ripe For Love and merry Nightmare are lengthier and more fully realised than anything he's attempted before but they remain enveloped in a fog of gauzy effects and disconcerting time changes. [May 2015, p.111]

It's not his strongest, but facinating none the less. [Nov 2009, p.110]

There is, too, much, that is pretty and whimsical, but less substantial. Another accomplished set, but the real Fyfe Dangerfield should stand up. [Mar 2010, p.98]

It's when Pentz dials it down that it gets interesting. [Jun 2013, p.101]

It is sufficiently gritty to at least keep her in the game. [May 2011, p.126]

Opinions will still be divided--Murdoch as literary giant or self-important art school berk?--as, over 25 tracks, there's evidence of both. [Jul 2005, p.129]

She's at her most compelling when the rhythmic cross-currents come with a deep dark undertow. [Jul 2012, p.103]

Django Django have proved they can blur the boundaries: now they need definition. [Feb 2018, p.114]

As a singer, Kylie still sounds about 15 and her voice sometimes struggles not to be engulfed by the swells of strings and legions of backing singers. Nevertheless, for the most part, this is quality stuff. [Dec 2012, p.101]

More depth, and a few metaphorical tidal waves, wouldn't go amiss. [Jan 2013, p.109]

There are enough decent moments here for this to represent a step back in the right direction. [Apr 2016, p.117]

In the end, though, to fixate on these 33 songs' serial flaws and occasional bad odours is to miss the essential point. The music amounts to a compelling period piece. [July 2008, p.116]

Utilitarian is hardly an artistic leap yet is indisputably still Napalm Death. [Mar 2012, p.105]

This record will quicken the pulse of no one, but then chin-stroking does require a certain musical mellowness. [Jul 2009, p.127]

An acquired taste, but an enjoyable one. [May 2013, p.94]

While it's a policy of extremes that occasionally leaves little room for light and shade, it makes for an occasionally thrilling debut--ambitious, noisy and, most importantly, packed full of tunes. [Nov 2009, p.103]

Her sweet vocals and country-ish musical tilt recall Cat Power, but with a fresh and affirming, rather than jaded, worldview. [Oct 2009, p.112]

Strange, but strangely compelling, too. [Jun 2012, p.97]