Nothing here is revolutionary, although the quality of workmanship is undeniable. [July 2002, p.112]

At their worst The Stratford 4... are as far out as a Chapterhouse B-side. When they hit their freaked-out stride, however... they shake off the enervation and kick up some genuine rock'n'rool aggro. [Oct 2003, p.114]

In fact Gahan, whose ill health hampered the making of Ultra, has rarely sound more potent. This time it's Martin Gore who's out of puff. No amount of fashionable tweaking can hide the flimsiness of his offerings...

They've never sounded this heavy or this pissed off. [Jul 2003, p.106]

Their most overblown record since 1989's Gold Mother. [Aug 2001, p.130]

Though a certain battle weariness has set in, many songs lacking The Wedding Present's trademark guitar bluster of old, Gedge remains wry, dry and wholeheartedly likeable. [July 2008, p.111]

If Kylie's musical ambitions extend further than play-safe good times of X, she's keeping them, like everything else, to herself. [Dec 2007, p.108]

Naturally, they can't resist chopping and changing course at the drop of a hat, but the melodic sheen clearly serves notice of more mainstream intent. [Oct 2010, p.120]

Beady Eye's Different Gear, Still Speeding was always going to be one of the most important records Liam Gallagher would ever make. The gobsmacking reality is that it's also among the best. [March 2011, p. 102]

It could all seem like an indulgence, an intimate late-night emotional overspill best kept at home, like crying in front of a mirror. It's testament to O's skills as both songwriter and performer that out in the open, Crush Songs still seems like an attractive prospect. [Oct 2014, p.102]

It might be largely business as usual, then, but for all that A Place To Bury Strangers remain strangely comforting presence in an otherwise turbulent world. [Mar 2015, p.103]

It's a salient reminder of the wafer-thin line between art and pretentious bollocks. [May 2004, p.108]

They don't sustain the quality of songwriting throughout, but this is a promising start.

This friskier, fresher take on Evelyn's previous fare is especially well judged bearing in mind that the last thing the world needs is another chill-out album. [Sep 2002, p.111]

When it works, it's exhilarating, but elsewhere the poor lamb sounds a touch jaded. [Feb 2003, p.96]

An intriguing listen...

This debut has enough catchy cheap thrils. [Dec 2007, p.124]

It looks like The Rapture--now a trio following the departure of bassist Matt Safer--have regained their despite to flaunt their slightly awkward moves. [Sep 2011, p.102]

Breezy sort of fun to be had. [Jan 2012, p.126]

It's Hield's increased confidence as a singer that is most striking. [Jul 2012, p.102]

It sets Vast Of Cheers up as just another cookie cutter indie band. [Jul 2012, p.96]

Though Candela never fully eludes to Pierce's studied background, the foundations are strong enough for him to go wild with the decorations. [May 2013, p.106]

By the end, they're almost sounding like their own band, rather than a Thin Lizzy tribute act. [Jul 2013, p.100]

While the track titles may be minimal, his music teems with beguiling sonic quirks. [Jan 2014, p.125]

These tales of iron-age blacksmiths, 17th-century highwaymen and modern-day ecological disaster are brilliantly told, long on smart wordplay, but light on tunes. [Jun 2014, p.103]

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]

Too often, however, these songs underwhelm. the likes of Sand and Boyfriend confusing unengaging plodding earnestness for emotional heft. [Jun 2018, p.113]

Hard Candy is the sound of pop's ultimate superbrand consolidating her success. [June 2008, p.134]