It's quite brilliant. [Jan 2012, p.124]

It's a transformation that makes the delicate beauty of what comes before even more startling. [Mar 2013, p.102]

Understated yet charismatic, Harding has the gift of making reality seem like a very fragile and porous thing indeed. [Jul 2017, p.108]

This is witty English guitar rock of the highest calibre. [Nov 2002, p.114]

Her observations possess a nuance that blasts away old cliches, but are also related with a pleasing simplicity. [Aug 2020, p.107]

This is as bold, daring and vibrant an album as we'll hear this year. [Oct 2009, p.106]

Reassuringly, life is good once more. [#361, p.107]

Finds his muse back in rudest health after the relative disappointment of Rock N Roll. [Feb 2004, p.98]

An lysergic audio treat to sate the hunger of horned nature deities and psychedelic heads alike. [Aug 2015, p.115]

Either Yorke’s lyrics are better this time, or the comparative voluptuousness of the vocal performances make it easier to tune in, or we’ve finally grasped what he’s been getting at since abandoning OK Computer’s more straightforward man-vs-society musings.

Eyes Wide, Tongue Tied is a leap forward. [Oct 2015, p.108]

Their sky-scraping melodies may not enjoy the same reverence and ubiquity as, say, The Smiths' catalogue but these rearrangements are magical. [Nov 2018, p.105]

These songs might not defeat Fu Manchu, but they're a fine addition to Richard Ashcroft's hand. [Nov 2018, p.100]

Their debut...has all the right soul/pop/early Motown moves, plus enough retro fizz to get any party started. [Oct 2011, p.130]

If Angelina's somewhat mannered accent, make for an exercise in second-hand Americana, Vagabond Saint has too much panache to make that a stumbling block. [Feb 2017, p.111]

This debut album is free of the scowling raps that made grime such an abrasive prospect the first time round. [Nov 2012, p.104]

It's rarely an easy listen, but in among all the post-punk references lurks a soundtrack to 2018's looming global catastrophe that's urgent and compelling. [Feb 2018, p.113]

These previously released 28 masters and 27 out-takes are yet another eloquent reminder that contrary to received wisdom, Presley's '70s were no creative desert. [Nov 2013, p.120]

It's lawless crashing of styles--genres mangled include FM radio rock, queasy disco and a waltz--might appear off-putting, but are, instead invigorating. [Mar 2018, p.115]

The album comes to life with the radio-friendly, dancefloor-ready banger Operator (He Doesn't Call Me), but only one track, Love Is Blind, errs on the side of the saccharine and straightforward. [Apr 2016, p.109]

Amok shows Yorke successfully synthesizing his obsessions into a compelling and complete universe. [Mar 2013, p.92]

His gently intense third album is sometimes breathtaking in its melancholy sweep and songwriting skill, and always absorbing. [Mar 2013, p.96]

The fierce intensity of Ote's digital blurts, Mudafossil's amorphous throb and To Many's fractal melodies show Kooshanejad mapping fascinating new dimensions of his own. [May 2016, p.111]

While Finder is as relentless as they come and Intruder punches harder than chase & Status, The Fool details life in a court during the Middle Ages interestingly enough and there's subtle beauty in Eating Hooks. [Jun 2016, p.114]

It's tempting to say that Groves makes music mature beyond her tender years, but tha's wrong. It would be stunning no matter how old she was. [Jun 2009, p.117]

At its best, this is strangely charming, chiming pop music with a twist. At other times, the bare-boned production hampers the inventiveness, rendering a track such as Y Teimlad (The Feeling) a workmanlike Velvet Underground retread rather than the thing of symphonic beauty it briefly threatens to be.

Compared to the mulch churned out by far too many, Contra will cut through most of the stuff on the radio like sunshine through clouds. [Feb 2010, p 100]

A splendid blast of pop art--with the accent on tunes and outrageous fun. [Jun 2015, p.110]