Solid rather than inspired. [Oct 2011, p.117]

The manic arrangements sometimes overwhelm, but there are worse places to drown than Baths' ball-pit of an imagination. [Jan 2018, p.106]

There's a pleasing mundanity to their lyrical scope. [Feb 2020, p.115]

The result is a mighty leap forwards. [Jun 2010, p.128]

Imagination and maturity abound, energy less so, although it bodes well for the next album. [Dec. 2001 p. 127]

Shelby struggles to get her dues outside conventional country circles, but Tears, Lies And Alibis is far from conventional. [Nov 2010, p.111]

Strangeland isn't much of a diversion from their fame-bringing formula. [Jun 2012, p.105]

This latest ventures proves equally unconventional [as his collaboration with Sufjan Stevens and his Kenny Dennis EP], the half-hour running time and Cohn's deadbeat rhymes both at odds with the rap mainstream. [Sep 2012, p.111]

A curious third outing. [Oct 2005, p.117]

A four-part story in the record's centre is propelled by a whirligig of percussion that rapidly becomes total overwhelm[ing]. But in its final 20 minutes the album finds steadier ground, allowing space for Deacon's undaunted imagination to come into its own. [Mar 2020, p.117]

Mostly it's quality urban pop that achieves its goal, but by sacrificing her personality. [Apr 2008, p.107]

The only gripe here is that the odd longueur makes Historian solid rather than spectacular. [May 2018, p.107]

The 15th album of punk-tinged metal has enough spark to show that they can still dance with the Devil. [Apr 2013, p.100]

Song quality is key: at home writing cheery or wistful postcards rather than deep and meaningful navel-gazing, Ringo had yarns to spin, vibes to spread and lucky stars to thank. [May 2015, p.112]

At 15 tracks long there's occasionally some saggy moments, but with plenty of verve and sparkle in the main, The Melodic's debut proves unexpectedly life-affirming. [Apr 2014, p.115]

At its best, Cadenza is a thoroughly captivating listen. [Jun 2011, p.114]

In cinematic terms, not a bomb. But not a blockbuster, either. [Sep 2017, p.116]

Electronic outfit return after a decade and a half. [March 2011, p. 114]

At times, strangely purging - and almost euphoric - most of MMXII still sounds like the end of civilisation as we know it. [Jun 2012, p.106]

Dark and knotty, Open takes a while to win you over but when it does, it hangs around in your head like an unpaid debt.

Everything here feels like a Xerox of something that's been done before.[Oct 2014, p.102]

With arrangements pared back to the bone, it's that strange, slurred voice where all the attention is focused, meaning there's no hiding place at all. [Nov 2012, p.99]

While The Sweet Escape is not as garishly over-the-top as its predecessor, Stefani maintains an admirably off-kilter sound, catchy yet electronically edgy. [Feb 2007, p.106]

Unforced and rewarding. [Feb 2016, p.119]

Power has a surprisingly cohesive feel, even as it shifts from the Beach Boys-infused harmonies of On Your Own to Prettiest Ones Fly Highest's hazy, Frank Ocean-like R&B, with only the slinky house beats of Cool Like Me sounding a false note. [Jan 2015, p.125]

Basically, it's a Megadeth album; no more, no less, no change. [Jan 2012, p.124]

HIs fourth album is a step up from the patchy "Awfully Deep." [Oct 2008, p.150]

[She] sticks to the formula of soft-spoken polemical raps and gritty lo-fi beats. [Mar 2012, p. 97]