Enigmatic dubstep maestro's spooky follow-up. [Aug. 2011, p. 127]

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]

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]

The performances reflect his wind-down way. [Apr 2014, p.96]

The album's first half is anchored by the hypnotic undertow of Pulls, but the mood intensifies later with RGB's distortion beats and Bird Milk's cocky electro-strut proving Gallear's at his best when sparring against more robust rhythms. [Dec 2014, p.109]

It's pleasing too, this time, to hear Adams singing unadorned and less accompanied; it lets the melody run uncluttered and those brilliant lyrics step forward. [Apr 2016, p.101]

Ultimately, though, White Lies are running to stand still. [Mar 2019, p.120]

A vigorous, if patchy comeback. [Jan 2020, p.114]

Elegantly downbeat, Soldier Of Love sparkles as a whole rather than as a collection of parts. [Mar 2010, p.107]

This collection of 12" releases from the last year is breathtakingly beautiful. [Nov 2012, p.98]

Orc is an incredibly full-on record. [Oct 2017, p.107]

With their 11th studio album, they've succeeded in not becoming crap quite admirably. [Dec 2004, p.126]

The songs aren't quite up to the mark. You can't fault the performances though. [Dec 2007, p.121]

Contains more than its fair share of exquisite melancholy and careering abandon. [Nov 2005, p.123]

Pop doesn't get much more gloriously trashy than this. [Apr 2003, p.108]

Midway through, however, Karl Hyde stretches himself too far with the minimal This Mortal Coil-styled ballad SKYM, exposing the weaknesses in his singing voice.

A screw is definitely loose somwhere, but so what? [Oct 2004, p.128]

Though head-spinning, this collision of ideas retains some cohesion thanks to Gelb's sun-scorched songwriting that sees his acoustic alt-country efforts, in particular, shine. [Oct 2004, p.123]

Sonically, his second solo effort is dry and unimaginative. [Feb 2003, p.97]

When Harvey stretches herself things really become interesting. [Jun 2004, p.100]

Existential fatigue and self-interrogation--these themes and more are all, somehow, transmitted by her lullaby-soft delivery without ever having their intensity muted. It's a neat trick, and one that Mothers do better than most. [Apr 2016, p.111]

Refreshingly, nothing outstays its welcome, not even nine-minute closer 'Massage The History.' [Jul 2009, p.124]

Yak shoot from the hip with an impetuous first-timers' racket that's rarely short of breathtaking. [Jul 2016, p.113]

Sexsmith's best record since his self-titled second album of 1995. [Jun 2006, p.119]

Confusion's left in its wake, of course, but such is the price of the peaks. [Oct 2017, p.100]

Confident Music for Confident People largely succeeds in maintaining the hi-NRG entertainment. ... It comes unstuck, though, when the sugary fun becomes simply irritating, as on the bratty C.O.O.L Party. [Jun 2018, p.109]

The subtle rhythms of Nigerian percussionist Lekan Babalola giving something new to Wilson's versions of great old songs. [Aug 2008, p.145]

One very minimal idea being stretched over 11 songs to the point that it starts to look very washed-out indeed.