The results are a no-less-entertaining 33 minutes of madness, like a Ramones album spun at 78 rpm. [Jan 2014, p.123]

This unashamedly adult collection drags Feist deeper still into major talent territory. [Jul 2017, p.107]

American Slang isn't a record to change the world. But if Brian Fallon is yet to take on the Springsteen mantle of seeing and articulating that world way beyond his own neighborhood, it will surely bringh im closer still to The Boss' heartland audience.

A work of lovely, floaty wonder. [Oct 2017, p.103]

Quietly thrilling. [Feb 2002, p.113]

Using everything from string quartets to jet turbines, metal sheets and electric guitar, it moves from being severely irritating to moments of great beauty. Worth persevering with, if you're willing to go the emotional distance.

Terrifying, but in a good way. The bar is raised. [Jun 2004, p.105]

Whereas Wanderland at least felt like Kelis was moving in a new direction... Tasty seems retrogressive, a step back into a more conventional landscape of guest raps and heavy basslines. [Mar 2003, p.106]

Its brilliance lies in sifting the wheat from the enormous quantity of thenameless movement's chaff. [Aug 2003, p.119]

Baird's pure vocals might promise a bucolic dream, but there's the seed of a nightmare mushrooming here, a tension Heron Oblivion push as far out as they can. [Apr 2016, p.107]

The Ooz can be dark and difficult. But it is also ambitious and delightful, reaffirming the delightful, reaffirming the delicate boundary between beauty and ruin. [Dec 2017, p.103]

It's with the good-foot funk of Save Me and slow-lane soul of Hold On that Williams's vision really pulls into focus. [Aug 2020, p.113]

Furman's collage approach and his Joanthan Richman-styled variations are charming, full with both life and with tunes. [Aug 2015, p.106]

There's plenty to uncover within its slowly crashing waves of sound, but the main problem is that it all washes over you without leaving a lasting impression. Sumptuous, but forgettable. [Jul 2018, p.108]

A trip worth taking. [Jun 2005, p.116]

Songs is uplifting, his clever wordplay and minor chord piano and guitar ballads reminiscent of his hero Townes Van Zandt. [Aug 2014, p.106]

An effortless marriage of modern dream-pop loops and classical 70s guitar lines, it entertains notions of Thin Lizzy and Steely Dan, while producer Chris Coady lends the whole a steadfastly modern feel. [Jun 2011, p.120]

Hallelujah Anyhow is the sound of a man happy in his own skin. [Nov 2017, p.108]

Follows a smilar pattern to 2003's Monday At The Hug And Pint, fleshing out their deceptively simple songs with expanded arrangements and quicker tempos. [Dec 2005, p.148]

This one is stranger than most. [Oct 2012, p.117]

Has the evocative tang of something ancient and the folk-rock idiom of the modern age. [Feb 2005, p.103]

It makes for an affecting, beautifully measured, very grown-up affair. [Mar 2012, p.111]

At 69 White has no need to prove himself, so be grateful he feels the desire to do it anyway. [Oct 2013, p.99]

There is nothing much new here for longtime fans, but Royal Albert Hall is a fine live record of one of popular music's minor-key geniuses. [May 2015, p.104]

A joy throughout. [Dec 2017, p.105]

Truly one of a kind. [Nov. 2010, p. 117]

Their rock'n'roll commitment is beyond doubt, although casual observers might want to wait for their promised new album. [Dec 2008, p.142]

Showcases her luminous vocals, rich lyrics and subtle arrangements. [Sep 2005, p.120]