The splicing of classical instrumentation with electronica and jazz flourishes may alienate his old band's fans, but there is much to admire here. [Oct 2010, p.120]

If surprises on Intersection are few, even rarer are the disappointments. [Mar 2012, p.105]

Monkeytown presents mutated dance music, ranging from satirical mutoid rap, warehouse ragga and even jump-up ambient. [Nov. 2011, p. 136]

Rising from the ashes of Nashville's junior punkers Be Your Own Pet, Echo Kid is a gloriously daffy collection of primal rock 'n' roll nuggets. [Dec 2009, p. 127]

In comparison, the second solo album from Broken Social Scene/Stars vocalist Amy Millan can't help but seem just a little routine. [Jan 2010, p. 126]

Unfortunately, wit the exception of the catchy "Needing/Getting," there's little that's memorable. [Winter 2010, p.107]

Solid but somewhat samey. [Jul 2014, p.109]

It's a hugely entertaining album. A musical travelogue whose breadth of styles fits the vast nation it eulogises. [Summer 2018, p.107]

An album that manages to pile on fresh, innovative production without drowning out the frequently spectacular songwriting. [May 2014, p.118]

Tesfaye can't decide if he's having the best time f his life or the worst. [Feb 2017, p.119]

She's made an album that deserves to linger in the limelight--passionate, powerful and possessed of real star quality. [Feb 2012, p.98]

The duo's experience and aplomb win out. [Sep 2014, p.108]

Superior to both the last two Mode albums and [Martin] Gore's recent solo effort, Counterfeit 2. [Jul 2003, p.103]

Squally closer 'The Dome' aside, he has a surprisingly light voice and--especially on the straight country of 'Doreen' and poppy 'The Banquet Styx'--a deft musical touch. [Oct 2008, p.152]

It's a little one-paced and unlikely to win prizes for originality, but King Con has enough kooky charm to entertain, if not enchant. [April 2012, p.107]

Covering Blondie's Sunny Girl in a straight '70s power-pop style seems strangely redundant, but easy listening standard Hold Me, Thrill Me, Kiss Me suits She & Him down to the ground. [Jun 2013, p.104]

He's taken chances and won again. [Jul 2014, p.115]

Asleep at Heaven’s Gate is still as polite and polished as the "edgy" mainstream dramas it will no doubt continue to soundtrack. [June 2008, p.146]

Beguiling, high-density productions. [Apr 2006, p.119]

Miracle Fortress' version of the '80s manages to push the decade's bookends together, fusing the analogue synthetics of early Mute records and proto-shoegazing's disorienting, ecstatic swirl of noise. [Oct 2011, p.127]

It's too entrenched in the past to take Costa forward, but there's nobody relighting the old fires with such authenticity. [Mar 2009, p.96]

Don't bet against them lighting up the indie firmament in 2011. [Mar 2011, p.106]

There's talent here and with a slight upping of the serotonin levels next time round, Real Lies could yet be onto something. [Dec 2015, p.112]

There's a luxurious, albeit sometimes cloying, warmth throughout. [May 2017, p.100]

Although its lyrics and concerns are more mature than debut album Life As A Dog, it occasionally feels a bit like reading your teenage diary: a cringe or two amid the catharsis. [Jun 2017, p.109]

It struggles to impart much buoyant energy, with individual songs tending to sink into soporific mass of breathy vocals and mellow riffs. [Aug 2019, p.116]

Packed with lovely, unusual and attention-grabbing intros. ... Less heartening are his lyrics. ... Much of the record consists of its maker bragging about his sexual conquests with a dead-eyed disdain. [May 2020, p.106]

The Fleetwood Mac-tinged 'Touch Me I'm Going to Scream Part 2' overcomes the overall air of pastiche. [July 2008, p.108]