A sprawling, bewitching album. [Aug 2014, p.108]

Miguel has been mentioned in the same breath as Frank Ocean (often by himself) and The Weeknd, but this album doesn't quite unlock such self-contained worlds. [Jan 2018, p.107]

In its own flawed, modest, off-kilter way, this might turn out to be one of the most accomplished records of the year. [May 2015, p.98]

Ultimately, The Coral aren't doing anything they haven't done before, but the greatness of these songs is undeniable and the production is slyly inventive enough to to keep us hooked. [Apr 2016, p.115]

London Sessions is a solid memento of the group at their peak, albeit closer to a Peel session than a live album. [Feb 2011, p.120]

More variety is needed and it's all been done before, but rarely with such a sense of fun. [Apr 2008, p.108]

It's big and clever; also bloody brilliant. [Aug 2012, p.98]

Altogether, it's a thing of great beauty. [Jul 2018, p.112]

The Neon Skyline stands up as a great collection of moodily atmospheric songs. [Mar 2020, p.120]

This [is] their best album in an age. [Sep 2012, p.110]

The most intimate record of the year, and one of the warmest. [Oct 2003, p.113]

Eventually, though, the guitar-and-piano-only, stripped-down dynamics mean that a dull torpor settles over the album.

A worthy addition to the Clash canon. [Nov 2008, p.126]

She sounded better as a bit of a bad girl. [Jun 2014, p.106]

Thier first albun of entirely self-penned instrumentals should finally see an end of [the world music tag], the fluid yet percussive tunes also impossibly nimble. [Oct 2009, p.116]

Very New York and strongly redolent of the whole DFA/LCD sound. [Jul 2005, p.114]

Crucially, as well as nailing the sound perfectly, they do so with a winning passion. [March 2011, p. 117]

Alone again, naturally - and rather beautifully. [Apr 2020, p.106]

Embryonic has a cloudy feel, full of hulking, malformed basslines, distorted drums, and melodies that circle without ever ascending. [Nov 2009, p.102]

You Can't Go Back... holds no surprises. [Apr 2016, p.114]

Each of the 10 songs are beautifully simple, sounding like they've been passed down in a Welsh oral tradition from generations long forgotten. [May 2012, p.100]

A trash-conscious blend of craft and humour gives them the sass, style and balls to sound like no one else around. [Mar 2004, p.111]

Strikes a winning formula of DIY integrity and big bucks sheen. [Mar 2006, p.110]

Ghost Culture's self-titled debut often feels like eavesdropping on a late-night confessionary: one where influences such as Kraftwerk, Depeche Mode mastermind Martin Gore and Soulwax are fused into a thundering, fluid whole. [Feb 2015, p.109]

With Fender's vocals soaring over skyscraper guitars and choruses that accelerate into a surging, full-throttle blast, it's hard not to imagine the stadium potential of these songs. There's a power in their marriage of beauty and disgruntlement, towering moments that recall '80s U2 or Simple Minds. [Oct 2019, p.115]

The tales of love, loss, life and death on his 14th album are embellished with brass flourishes for the first time, which only adds to the sense of drama. [Nov 2012, p.102]

Que Aura presents his top-drawer songwriting in the form of new-wave psychedelia, smart guitar-pop and budget R&B. [Oct 2017, p.111]

You could break your teeth on their solid pop structures, especially on Hated By The Powers That Be, but there's a volatility in these touch-paper guitars and flammable vocals, that ensures Brickbat is never straightforward. [May 2019, p.115]