Seemingly made with the camper kind of dancefloors in mind is the self-titled first album of surging Euro synth-pop from Sweden writer/producer, Kleerup. [Jun 2009, p.134]

Other tracks are a little less memorable, but the experiment's still worthwhile. [Mar 2009, p.98]

Vince Clarke's melodic electro-motifs and Andy Bell's dramatic voice may be in place, but laments for long romance and fake news alerts make for sombre listening. [Jul 2017, p.107]

Elisabeth Maurus's second album finds her still awkwardly straddling the divide between sensitive songwriter and would-be stadium rocker. [Oct 2013, p.106]

Compared to the angular new wave of yore, the Elastica sound has matured into something far more interesting.

In its own vapid, curiously sexless way, Life For Rent is actually fascinating stuff, so set against the usual rules of successful music that it starts to look oddly revolutionary. [Oct 2003, p.99]

Sharp, seductive music from a band at their peak. [Oct 2001, p.119]

Music for thirtysomething teenagers, and none the worse for that. [Jun 2003, p.92]

To reach this pop sophistication after four albums would be admirable. In two, it's awe-inspiring. [Aug 2009, p.105]

The only problem is that the duo never manage to execute a truly killer pop hook, resulting in a debut that breezes by in a pleasant but ultimately forgettable haze. [May 2011, p.116]

There might not be any hits, but it's still a convincing chapter few would have predicted. [May 2013, p.102]

Weird Drift is a lighter and less oppressive affair [than Love & Devotion]. [Jun 2014, p.112]

There are times even [Tom Clarke] threatens to get swallowed up in a swirling mix that leaves the post-dubstep scene decisively behind them. [Sep 2014, p.106]

Too much of the rest comes dangerously close to ordinariness. [Mar 2017, p.115]

It's the cat-on-an-electric-hot-tin-roof cartoonery that makes Perrey such a joy. [Aug 2017, p.110]

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

While his debut's defiantly un-PC lyrics take inspiration from '90s gangsta mavericks such as Three 6 Mafia, the electronic murk that surrounds them on tracks such as Get Yah Head Bust is utterly of the moment. [Jul 2012, p.110]

This needling sense of disturbance is impressive, but it's still a relief when they break the mood more dramatically on the choral interlude Tender Shoots or the swamp-dark swing of The Monaco, reassuring signs they haven't yet become too set in their monochrome ways. [Dec 2014, p.106]

Their second album finds them full of anthemic swagger and brio. [Mar 2012, p. 97]

When it does threaten to bud into genuinely odd forms--the title track's sinuous distortions, or a sudden swerve into pop seduction on Do Your Bones Glow At Night--it doesn't stick. [Oct 2016, p.113]

Above all else, [it] once again underlines Dylan's singularly magnificent gifts as a songwriter. [Apr 2007, p.121]

Tempos ate slower, moods are darker, moments of infectious pop few and far between. [Jun 2011, p.119]

Reductive re-workings of his heroes only remind you of his limitations. Lacking a pop compass, Stone just sounds lost. [Aug 2012, p.111]

Heartstrings lacks the killer song that would bring Howling Bells the success they undoubtedly crave. [Jul 2014, p.109]

The elusive magic of their initial work seems further away than ever. [Oct 2014, p.108]

Distractions aside, this is a fine record. [May 2016, p.114]

For every moment of immaculate pop, there's a moment of strangeness. [Jun 2018, p.116]

For all its finite charms, though, Mirage Rock lacks the slinkiness of Infinite Arms. [Oct 2012, p.93]