Recorded at LA's Ocean Way studios, his 10th album sees his screwball pop vision go widescreen. [Oct 2010, p.112]

After years of playing to fanbase expectations, Gray has reinvented not only himself but raised the bar for folktronica. [May 2019, p.112]

A pleasingly, gently adventurous collection. [May 2018, p.104]

Admittedly Maas is hardly reinventing the wheel here, but there's a freshness and pace that's been missing too long. [Mar 2002, p.126]

This album - musically more extravagant, lyrically just as searching - takes its place at the shoulder of 1994's Stones In The Road as her best yet.

A perfect late-summer soundtrack on a par with their 2009 masterpiece Fits. [Sep 2018, p.114]

A real leap forward. [Apr 2005, p.126]

What could be desperate instead dazzles, thanks to a combination of shiny pop smarts, hands-aloft anthemics and, in the case of Freddie Mercury-alike singer Luke Spiller, the kind of unembarrassable charisma they rarely manufacture any more. [Dec 2018, p.114]

Eccentric as ever then, but there's no denying the continued originality of the sound. [Dec 2012, p.102]

The Navigator feels like a mighty, empowering antidote to 2017's many spiritual agonies. [May 2017, p.105]

Five years away hasn't damaged their ability to wow and Hesitation Marks puts Trent Reznor's soundtrack albums into context; here, he sounds at his very best and right where he belongs. [Oct 2013, p.108]

Rarely has a band justified the attention put upon them so beautifully. [Jun 2019, p.112]

It's moments like this [on Malibu Man] when Auerbach hits the classic soul button that his versatility really shines. [Jul 2017, p.113]

Goulding is packed with intriguing contradictions and you can sense most of them on Lights.[Apr 2010, p.107]

Not quite a masterpiece, Echoes still shows why New York rock currently feels a million times more exciting than Britain's woefully safe equivalent. [Oct 2003, p.114]

All Mirrors strikes an impressive balance between familiar and strange - resulting in an album that's startling and breathtakingly beautiful. [Nov 2019, p.109]

Sounds dangerously like a genuine hip-hop album. [Sep 2014, p.114]

There's a real depth to an album that is brimming with inventive, clever hooks and individualism. [Oct 2014, p.114]

Lex Hives fizzes with the energy of a debut album, the quintet emphatically back to doing what they do best. [Jul 2012, p.103]

Bananas but in a good way. [Jan 2018, p.106]

Bainbridge reveals himself here not as an exhaustingly pseudy hipster but rather a songwriter of singular depth and emotion. [Nov 2014, p.114]

[A] melting-pot maelstrom. [May 2017, p.107]

Tired Pony have given side-bands a good name. [Aug 2010, p.121]

As her previous two albums showed, Moss is a dab hand at writing about affairs of the heart. [Apr 2016, p.105]

Even now, few do it better than Wire. [May 2017, p.112]

Though rhythmically powerful, it's Hutchings's fluttering, forceful sax that is the totem around which this album prances with energy and adventure. And it's a blast. [May 2019, p.108]

Her latest album is a little more conventional but no less arresting. [Oct 2013, p.99]

It's not as obviously retro as, say, techno DJ Paul Woolford's recent Special request project, but there are similar flashbacks to the darker end of '90s drum 'n' bass. [Mar 2014, p.108]