Soar finds a happy ground between Dexys' debut and their much-loved but seldom-sold third. [Jul 2012, p.98]

From rock riffs to cheesy electronics, nothing is off limits here, the gurgling stream of playful beats and gorgeous melodies carried along on a tide of Can's dreamy krautrock, ambient instrumental bliss and infectious '70s rock grooves.

Simultaneously lovely and repellent, there's echoes of the Pet Shop Boys, Pink Floyd and Momus. But, in truth, their combination of the sinister and the delicious is entirely original.

This freewheeling third record is picthed just the right side of sobriety. [May 2010, p.112]

Fifteen years after his debut, it was about time Ed Harcourt made a career-defining record. Here it is. [Sep 2016, p.106]

Far from running on empty, the spouses from Charleston, South Carolina have life to thank for refilling the song tank. [Nov 2016, p.114]

The result is a surprisingly jubilant follow-up, with the Richmond, Virginia-based singer-songwriter largely disposing of her delicate sound in favour of groove, R&B and '80s pop. [Jul 2018, p.116]

Sheff's unorthodox, often beautiful songs blend folk and country with left-field rock influences.

His sometimes-still-too-warbly voice is the main instrument on this follow-up, but it's pockmarked with new friends' influence. [May 2013, p.96]

Savages are still best viewed in the wild, then, but Silence Yourself documents a spirit and passion that could never be background music. [Jun 2013, p.98]

Worth investigating. [Mar 2007, p.115]

With her debut, the former member of art-noise cult Gowns sounds like she would quite literally rip out her heart as a sleeve adornment if it served her creative purpose. [July 2011, p. 111]

It might not add up to a must-have, but it's good to hear Springsteen with the pressure off. [Jun 2006, p.112]

It's all good, clean, Beatles fun, on a record that celebrates a heart-warmingly more romantic and innocent age. [Dec 2013, p.118]

Its kitsch-free excellence confirms Hawley as a balladeer of the very highest order. [Mar 2003, p.109]

Like R.E.M. when they were good, [The National's] superficially simple songs have a real depth and resonance. [May 2005, p.114]

It is their poppiest, most direct album yet, with a '60s swing permeating throughout its 10 tracks, but Cox has never sounded so disconnected from the world. ... It is a lean and often brilliant album. [Feb 2019, p.110]

Ultimate Success Today is convulsed by End Times thoughts of collapse and an American dream eating itself. [Aug 2020, p.111]

A curious document, but one that serves as a reminder of Hegarty's ability to catch the light live. [Sep 2012, p.97]

At times, the sugary vocals do become a little sickly; mostly, though, Universal Audio is a mastercalss in harmonious guitar pop. [Oct 2004, p.122]

Unsurprisingly, the atmosphere is often weigted with doom, though there's an intoxicating impetus to the tar-like bass and woozy funk. [Aug 2008, p.140]

It's clear Russell was a true renaissance man, as at home with thoughtful guitar pop as he was with New York disco. [Dec 2008, p.143]

Erland And The Carnival is an exquisite update of the classic folk-rock sound of the late '60s, full of dark and lovely covers and originals starring tramps, carnivals, Derby Rams and death. [Feb 2010, p. 105]

This is music of incredible warmth, where melody and emotion come before science. [Mar 2013, p.107]

The gauzy production effects on Lamplight are among the few concessions to modernity, though the opening credits theme proper--where Zeffira breathily channels chanteuse Francoise Hardy--is hauntingly gorgeous. [Apr 2015, p.98]

The disruptions continue on these post-classical keyboard pieces given extra depth by textured electronics, which create an underlying tension befitting the album's brief to examine possible ecological futures. [Jun 2017, p.109]

There are enough twists and delights such as lugubrious free-jazz saxophone and the keenness of his lyrics to make this record sublime. [Apr 2018, p.108]

The presiding theme here is one of nocturnal activity, and it's rather nice to see the songs as half-lit visions, as if it were all a Puckish Midsummer illusion. [Sep 2018, p.118]