An album that seeks to pull you under from the off and that, by and large, succeeds. [Jan 2017, p.112]

These 10 tracks sustain a brooding atmosphere. [Jul 2020, p.109]

You have to salute Jaar's ambitious, freewheeling approach, but a little more cohesion would've sealed it. [Dec 2016, p.109]

Entertaining though these tracks are, it's hard not to wish that he could ignore the buzzing irritations of not being universally adored, all the time, forever, and concentrate on the big picture. [Mar 2009, p.90]

Despite some strong material, the relentless gloom gets a little wearing well before the end. [Nov 2016, p.113]

A triumph of irregular precision. [Mar 2016, p.109]

Three tracks in you realise with horror that [it] is a concept album. Worse, it's a concept album of kitchen-sink dramas about Tony The Milkman and Doris The Housewife set to Saint Etienne's dated indie disco. [Jul 2005, p.120]

All told, this is a mind-blowing and powerfully emotional album, however you (or she) want to label it. [Nov. 2011, p. 143]

Graduation is mercifully skit-free, but it still feels insubstantial to West. [Oct 2007, p.95]

Their poppiest album to date. [Feb 2003, p.107]

No Time For Dreaming has the gritty feel of the real thing, a man who's known mostly hard times and tells it with a pleading throaty roar and blood-curdling scream worthy of James Brown. A real find. [Mar 2011, p.117]

File besides Peaking Lights as odd couple doing weirdly accessible wonders. [Dec 2012, p.112]

Ou Va Le Monde is twanging Tarantino-bait, Tatiana is a thumping, technophile take on The Velvet Underground, Le Chemin is gloriously woozy and Exorciseur is Gainsbourg-esque. But they're all eclipsed by the closing Vagues, a 13-minute psychodyssey. [Nov 2016, p.108]

Devendra Banhart's singular world remains as intoxicating as ever on the earthy, analogue-sounding Ma. [Oct 2019, p.106]

A masterclass in mixology. [Jan 2020, p.113]

Five albums along and Hot Chip continue to outdo themselves, not to mention most of their peers. [Jul 2012, p.111]

These songs aren't as charcoal-stark as her earlier solo work, but the aura of breathy acid-folk enchantment can leave the feeling there is too much atmospheric smoke, not enough revelatory mirror. [Aug 2015, p.104]

Strawberry Jam sounds as if it was a blast to make; happily, the fun doesn't stop there. [October 2007, p.94]

Their weak spots (feyness, smugness, shallowness) remain. [Nov 2003, p.104]

There's little revelatory, but it's another fine record to add to their cannon. [Oct 2009, p.119]

It may do little to make non-believers go his way, but Get Up! sizzles with intent from the off. [Mar 2013, p.102]

In modern jazz terms, a masterclass. [Mar 2014, p.116]

Sometimes, these stresses and strains seem to swallow her dreamy synth-pop whole, but there's at least a striking EP's worth here. [Aug 2017, p.108]

Second album confirms sonic wizard's wizardry. [March 2011, p. 116]

Packed with intriguing melodies. [Mar 2005, p.99]

There's a significant talent emerging here. [Aug 2012, p.100]

Old dogs, old tricks, but when the tricks are this good why would you want new ones? [Dec 2015, p.106]

There are clear parallels with Factory Floor, Mica Levi and early Grimes, but Owens has clearly found her calling. [Jul 2017, p.111]