Asymmetry is their best yet. [Oct 2013, p.102]

Gloominess is nothing new in traditional American music, but Wolfe layers the sorrow with a compelling sense of urgency. [Oct 2019, p114]

Fans will debate stand-outs but Brothers will shiver the spine of anyone in love with unsanitised rock'n'roll. [Jun 2010, p.128]

The old Jarvis Cocker is back. [Dec 2006, p.130]

Perhaps unsurprisingly, this template leaves little room for subtlety, yet what the duo's first lacks in brains it makes up for in sheer noisy exuberance, displaying on Crazy/Forever a common thread with the once majestic ...And You Will Know Us By The Trail Of Dead. [Dec 2009, p. 116]

Unhinged but snow-cool. [Apr 2004, p.114]

Overall this is brain music of remarkable potency. [Aug 2003, p.102]

It seems they've raised their game in hallucinogenic style. [Jun 2009, p.135]

It finds them in rejuvenated form. Their lyrical seriousness is present and correct. [Nov 2017, p.115]

They've long threatened to make an album that would propel them to metal's major league. This might be it. [Jun 2013, p.95]

Their pitch-perfect nods to Badfinger, Jimi Hendrix and Big Star come with a timeless quality. [Sep 2015, p.112]

Whatever language it's in, Le Kov casts a lovely musical spell. [Apr 2018, p.107]

Pop-house banger Bipolaire-Les Noirs and the double-jointed Afrobeats of Soleil De Volt show a knack for memorable hooks, while the album's meditative second act, not least the expansive Peau De Chagrin-Bleu De Nuit, brings emotional depth to a fascinating journey across cultures. [Jun 2018, p.106]

The weaponised theatricality never overshadows a set of songs that are as entertaining as they are grandly ambitious. [Apr 2019, p.116]

Whereas on record the songs tended towards the delicate, here they're fleshed out, with a richer sound that evokes The Zombies or Love. More vital, is how the set-up re-imagines earlier material. [Jun 2019, p.116]

Help Us Stranger is Jack White and Brendan Benson's love letter to classic rock. [Summer 2019, p.114]

More familiar than freaky. [Jan 2019, p.114]

Color Theory is a record that weighs heavy with low self-esteem and personal tragedy. [Mar 2020, p.122]

10 years if touring, recording and a recent divorce have provided enough grit, soul and burr with the sort of peculiarly exquisite pain that's grown up enough to register life's grand futilities. [Sep 2013, p.101]

An excellent return. [Dec 2012, p.109]

A confident and enjoyable debut. [May 2019, p.111]

The follow-up mostly reverts to the synth-oriented dream-poppiness of 2010's Halcyon Digest. [Nov 21015, p.107]

This 131-track splurge still manages to throw up the occasional gem. [Sep 2012, p.116]

The Next Day is a loud, thrilling, steamrollingly confident rock and roll album full of noise, energy, and words that--if as cryptic as ever they were--sound like they desperately need to be sung. [Apr 2013, p.92]

A low-light delight. [Jul 2012, p.110]

The Texan singer and guitarist's fifth album feels like a one-man exploration of African-American music. .. The blues is in safe hands. [Apr 2019, p.110]

An arresting record for challenging times. [Mar 2012, p.113]

As a live document of The Rollling Stones in all their swaggering, arrogant pomp, Get Yer Ya-Ya's Out is damned near essential. [Jan 2010, p.131]