Who would want another version of We Shall Not Be Moved is, surely, debatable, but elsewhere the results are more persuasive. [May 2007, p.129]

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

The resulting brew takes some getting used to, but there;s levitating force behind the rumbling Thunderdrums and Satt Nam's astral harmonics. [Oct 2010, p.112]

His first LP of original material since 2002's October Road slips into earshot with the gentle country lilt of Today, Today, Today and rarely breaks a sweat from here on in. [Aug 2015, p.113]

A well put-together record, just lacking in heart. [Oct 2018, p.119]

Sounds like the work of a man touting for soundtracks. [May 2006, p.131]

Okereke's voice, at times feels a bit too up close and personal. [Dec 2014, p.111]

Hayes has a tendency to wisp but this is offset by more exciting tunes such as the Cure-y single Keep running. [Dec 2012, p.106]

Gusts of electronic noise, ominous drones and Menuck's semi-spoken vocals fight for supremacy throughout, occasionally coalescing into something special. [Mar 2018, p.111]

His music, colorful and entertaining as it is here, has yet to supply a definitive answer. [Mar 2013, p.98]

The overlong 'Faith/Void' aside, this is another absorbing collection. [Apr 2009, p.100]

Not a straightforward journey, then, but still a rewarding one. [#361, p.108]

A familiar blend of clipped funk, jazz nuances and airy musings. [Jul 2003, p.113]

Not quiet as good as 1970's Live At Leeds, but it's still a riot. [Jun 2018, p.119]

With hints of Maurice Jarre on the title song and Love Reign O'er Me achieving full-chest-beating catharsis, it suits its new symphonic frame. [Aug 2015, p.114]

It's a record about being Madonna. [Jun 2003, p.90]

Fans will find few surprises on this full-length debut, which opens with Silhouette's emo-soul ballad and throughout maintains a mood pitched somewhere between tortured and despairing. [Apr 2017, p.111]

They are at their best when bandleader Torquil Campbell and muse Amy Millan share the mic. [Nov 2007, p.147]

The sound of a man finding freedom, it's an impressive reincarnation. [Mar 2016, p.112]

She plainly knows the meaning and benefit of brevity. [Apr 2013, p.110]

Epic pop has a new face, and it belongs to Joe 90. [Jun 2009, p.122]

This one feels more grounded, less frantic and, despite that constant pulsing movement, more at home. [#361, p.109]

It's familiar, but immaculately done, and by far the most focused work this band has managed thus far. [Sep 2002, p.100]

Many of the early tracks feel over-packed with ideas, musical styles , thrusts of synth, bongos, spoken word and chemtrails of jazz. Later, though, when he settles into sparser ballad territory, there is a sense of him drawing into focus as an artist. [Aug 2019, p.116]

The whole exercise has an infectious exuberance, even if it isn't quite the must-have document its title suggests. [Summer 2018, p.114]

If the themes ate familiar then at least Clock Opera imbue them with a twisty, nervous heroism instead of indie's usual fatalist whingeing. [May 2012, p.94]

He attampts to reinvent himself again, this time as an unlikely hybrid of Rufan Wainwright and Elvis Costello. The results are surprisingly good. [Mar 2010, p.105]

Unsurprisingly, this posthumous album doesn't reach such heights [as a973's Solid Air], and comes with a little too much overlong, incoherent blues whimsy. [Jul 2011, p.114]