The new "proper band" architecture well suits these touching, often funny songs. [Apr 2002, p.119]

The sound of a man taking his giant leap forwards. They're out of the indie ghetto forever now. [Dec 2016, p.104]

A true coming together. [Mar 2018, p.113]

An utter gem. [Apr 2017, p.110]

Made up of Coombes's most beautiful compositions yet. [Feb 2015, p.116]

The slacker boy wonder has grown up to be a man on a new mission. [Aug 2008, p.134]

This matches some of their best work. [Jun 2017, p.103]

Big Bad Luv ramps up Moreland's passion for mainstream melody without compromising any of the heartache that sets him apart. [Jul 2017, p.111]

Get Guilty bursts with dazzling tunes and--for him--relatively simple arrangements. [Apr 2009, p.108]

What makes this record so impressive is how effortlessly he has claimed his big pop moment without sounding compromised, and how easily he makes his producers bend to his strengths instead of vice versa. [Jan 2011, p.132]

It's a restrained record that doesn't suffocate its epic songs with epic instrumentation. [Jul 2019, p.114]

The 32-year-old's always-phenomenal flow is now matched by weighty content. [Sep 2017, p.112]

In size and texture it's closer to 1980's The River than anything since. [Sep 2002, p.111]

What elevates The Veils above pleasant distraction... is [Andrews'] extraordinary, chameleon-like voice. [Mar 2004, p.113]

Shows [Lanegan] to be more alive and more vital than ever. [Sep 2004, p.121]

Hotspot sounds anything but anachronistic and yet, brushing shoulders against, say, the Europop grandeur of Will-O-The-Wisp, the tender intimacies dispensed in Only The Dark or a beautiful existential audit called Burning The Heather, it's also a record on which such classics such as Left To My Own Devices or Rent wouldn't sound especially out of place. [Mar 2020, p.123]

One for heartbroken dreamers. [Jan 2013, p.105]

A superb solo effort. [Dec 2013, p.105]

EarthEE finds that magic spot where the feet are grounded but the head's floating on a cloud. [Apr 2015, p.111]

This sequel journeys into the light. [Jul 2017, p.111]

A rhythmic assurance helps Muggs navigate the flabby portentousness that has hampered Massive Attack of late. [Apr 2003, p.113]

Fever Dream is a dizzying rush of exuberance and emotion. [Aug 2019, p.115]

V feels bigger than its predecessors, but it still disturbs. [Oct 2017, p.105]

Sugar may have lacked the outsider appeal and cataclysmic cultural impact of Nirvana but he furnace-forged guitar pop of 1992 debut Copper Blue was a handsome match for Nevermind. [Aug 2012, p.114]

The songs, driven by their charismatic duets, mix inventive brass grooves with playfully indelible melodies. [Oct 2012, 94]

It's the anti-hygge of records: cold, hard, and anything but comfortable. [Feb 2017, p.111]

Brush off the buzzing novelty, though, and there is much to admire. [Nov 2013, p.118]

A grand vision is hard to discern, but when it comes to bringing the party, Culture II delivers with a scale and swagger that's hard to resist. [Apr 2018, p.117]