Jannis Noya Makrigiannis clearly has his own agenda allowing his haunting songs to develop at leisure. [Apr 2012, p.106]

Even if there's a sense of darkness descending, in his best solo album yet, Gruff Rhys paints with bright and uplifting colours. [Jul 2018, p.109]

For his eighth album, he has returned to renowned metal producer Ed Stasium, who delivers both high-impact guitar and sufficient clarity for enjoyment of Heat's droll way with words. [Apr 2002, p.120]

A black-metal-inspired collection of songs equally beautiful, if largely less accessible to the casual listener. [Jul 2015, p.112]

It is their way with a collaborator, though, that sets them apart. [Feb 2003, p.97]

Sleep Well Beast is undoubtedly richly textured, but it still demands the listener lean in. [Oct 2017, p.109]

A debut that should be enjoyed in sweaty, late-night dance caverns. [Aug 2018, p.116]

A thrilling journey of self-rediscovery. [Oct 2012, p.95]

Where Cold Roses was dense, narcotic rock... this is a country album in the tradition of Neil Young's Harvest and, notably, Grievous Angel by Gram Parsons. [Nov 2005, p.122]

It still occupies dark territory but this time excellent songs like Hidden Knives are defined by urgency, as well as venom. [Feb 2017, p.111]

Things perk up on the lovely Where There Are Pixels and the choired-up I Must be Jesus but it's one for the fierce-hearted and, as such, highly recommended. [Dec 2012, p.111]

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]

As homeopathic remedies for heartache and life's unkindness, these reflective songs are persuasive and when the group decide to fly with the moment-seizing, easy-psych These Days Are Mine, it's doubly invigorating. [Feb 2013, p.105]

Hitchcock is a genre of his own, and he's giving it a good name. [Jun 2017, p.109]

The work of a richly creative entity still in the ascendant, those with a mind to will drink deep. [Mar 2014, p.116]

It once again showcases just how satisfying a Talking Heads obsession coupled with an ability to craft uncommonly graceful ballads can be. [Apr 2009, p.97]

A Victim Of Stars is the ideal primer to an almost three-decade solo career, with the bait of one impeccable new track. [Mar 2012, p.117]

Dre and Big Boi (alias Andre Benjamin and Antwan Patton) fill their technicolour vision with the ghosts of Sly Stone, James Brown and, most notably, Funkadelic-era George Clinton. Factor in some distinctly unorthodox production and you've rap at its risk-taking best...

Sixty minutes long -- the album's subtitle is "A Musical Curriculum" -- this is pure, hip-hop-based sampledelica and anything but po-faced.

Caracal proves a more stealthy beast than its predecessor.... It's indeed the songs, though, which really shine. [Oct 2015, p.105]

LGC seem set to bring a winning edginess to drive time. [Sep 2013, p.106]

It's a brilliant record, without question their best to date. [Sep 2014, p.107]

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

Their second LP is an aged-in-the-wood delight of fiddle, mandolin, accordion, guitars and keyboards texturing swinging rock'n'roll. [Feb 2016, p.117]

This doesn't disappoint, adding emotional depth to his complex rhyming and heft to the productions. [Mar 2008, p.103]

Dig In deep seamlessly follows 2012's Slipstream in personnel and style. [Apr 2016, p.113]

Fizzing with memorable melodies, irrepressible energy and Matthew Caw's heartfelt vocals, this 38-minute set doesn't have a wasted moment on it. [Feb. 2012, p.108]

There could be no finer tribute to a departed friend. [May 2008, p.135]