Messy but addictive. [Jan 2012, p.123]

Hardly reinventing the wheel, but still a triumph of resilience. [May 2018, p.112]

She excels when she stacks up layers of her ghostly choirgirl voice within a more lush framework. [Nov 2010, p.114]

Black Ice is the album AC/DC were always going to make. It wasn't broken. They didn't need to fix it. [Nov 2008, p.119]

Hive Mind sounds at once strange and familiar. [Mar 2012, p.100]

His fourth record tempers his languid synth wavering with a playful classicism. [May 2015, p.113]

An uneven but fitting swansong, then. [Aug 2017, p.100]

Ellipse is typically facinating and frustrating. [Oct 2009, p.112]

By the half-hour's end you might well consider strangling the singer but, by that time, these tunes will have launched their own potent psychological counterblast. [Apr 2003, p.109]

More than a quarter century down the line, Bon Jovi are still living and selling the rock 'n' roll fantasy on The Circle. Why Not? They've done very nicely out of it. [Jan 2010, p. 126]

Hit Reset presents Hanna in rude creative health. Only on closer Calverton does any vulnerability peek through. [Aug 2016, p.113]

McLachlan's gorgeous voice has always been her strength, and even Pierre Marchand's soft-rock production can't diminish its power. [Mar 2004, p.107]

It starts off well. ... It's a shame then, that the second half of the album is so unspectacular. [Jan 2018, p.109]

Some tracks still sound ripe for Christmas rom-coms. But the best see veteran producer T-Bone Burnett, Tom Wait's guitarist Marc Ribot and Krall's husband Elvis Costello rough up her seductive keys with some electric Americana fuzz. [Nov 2012, p.99]

I Don't Run often feels like a post-tour comedown, meandering and forlorn, where its predecessor was uplifting and catchy. [Jun 2018, p.110]

While this circus could have more attractions and you yearn for a flash of lyrical brilliance among the uncomplicated relationship musings, there's no disgrace here and nothing to alienate their audience or embarrass those who grew up with Take That. [Jan 2009, p.117]

Those ideas aren't all great, but the strike rate is remarkably high. [Jul 2016, p.114]

The imaginative scope of this debut shows why expectations have been raised, his hazy soundscapes and blurred falsetto recalling Animal Collective's more strung-out moments. [Mar 2010, p.110]

While it won't lift him beyond cult status, it's typically enjoyable. [Apr 2010, p.112]

There is sparkling pop invention in abundance here, and, homage or not, that surely transcends any decade. [Jun 2011, p.106]

As much an art piece as it is a pop record, EWAB would make the perfect accompaniment to an afternoon flat on your back at a sun-strafed festival. [Jul 2015, p.106]

Cutler's surgically meticulous programming skills and ear for mesmeric melodies.... elevate this follow up to 2010's Emerald Fantasy Tracks above simple ['90's techno] homage. [Jun 2012, p.106]

By the end you might feel like you've just had your ear bent by a particularly forthright mum outside school gates, but Havoc and Bright Lights is Alanis Morissette's most inviting album in a long, long time. [Sep 2012, p.103]

Melancholic, romantic and unashamedly emotional, his loss is our gain. [Oct 2012, p.103]

In shifting from decks to band, he has also checked the imagination which marked him as an original. [Sep 2005, p.114]

The envelope-pushing gets a bit much at times. [Feb 2020, p.116]

Whenever the album bares its claws, such as on Joe's Cult and the soaring Horses, it demonstrates just how good it would have been with a dash more daring. [Nov 2012, p.104]

His debut LP has tunes aplenty, though he toys with them, unwilling to commit to on sound, still less one hook, when he can duck behind twitchy beats, fleeting effects or double-tracked vocals. [Jan 2016, p.108]