At its best, Other Worlds is sublime. [Nov 2012, p.106]

There are songs here which recall protestant hymns, others full of Kurt Weill cabaret humour and slick, modern white blues that suggest an energised, liberal attitude to the traditions in which he's working. [May 2013, p.101]

A bold step, especially as the songs slow-burn rather than star-burst. [Jul 2015, p.105]

Stanley Park, Hornets and Magpie carry a wistful, charming nostalgia about them, but maybe it's a generation too removed making In The Magic Hour's nods to tradition often superficial rather than tapping into the music's deepest heartbeat. [Feb 2016, p.115]

What A Boost sounds like somebody trying to make a confusing world slot together in a way that ultimately makes sense. [Jun 2019, p.115]

What could've been an album of self-pity is transformed into a record of optimism and hope. [Sep 2019, p.111]

Their fourth album proves more than just a trendy daliance, placing them at the cutting edge being honed by Dirty Projectirs and TV On The Radio. [Nov 2008, p.117]

Eternally Even retains James's parent band's mystery and washes of sound, but it's underpinned both by his conspiratorial, intimate vocals and a new-found, tacit anger on an album brought forwards to coincide with the US election. [Jan 2017, p.114]

While album two adds flavours from the Mediterranean and Iran, the fundamental intent is the same with less-is-more funk beats and bass providing an opiated shagpile foundation for Mark Speer's light-touch guitar lines. [Apr 2018, p.111]

For all the fraughness there are unpredictable but always apposite moments of beauty. [Jun 2010, p.128]

Alt-rock supergroup create new genre: stoner AOR. [July 2010, p. 132]

It contains some of the band's most beautiful, idyllic songs to date. [Apr 2014, p.117]

Themes of displacement, disillusion, and druggy ennui speak of a band who are no longer enjoying themselves. A shame, because when singer Andrew Savage shakes himself free from the torpor, his anger becomes an energy. [Jul 2014, p.112]

Silence Is Wild may be willfully idiosyncratic and prone to self-indulgence, but it's also refreshingly imaginative, sexually upfront and impossible to second guess. [Mar 2009, p.101]

It's not an earth-shattering account of the last year, but maybe the most affecting in its ordinariness. [Jun 2004, p.102]

Different Creatures is a beast of a record. [Apr 2017, p.117]

Casually unique and an unbounded joy to listen to, it's the quintessential Baxter Dury album. [Nov 2017, p.105]

Scott's energy and enthusiasm burns as brightly as ever. [Summer 2019, p.116]

At 10 songs and 35 minutes, Cala doesn't over stay its welcome, making its hypnotic pull all the greater. [Sep 2019, p.116]

The results remain defiantly out of the ordinary. [June 208, p.145]

There is a uniform strength to its material... Wrecking Ball doesn't have a dud. [April 2012, p.92]

One of 2020 most engaging new artists. [Mar 2020, p.122]

At its best she sounds like St. Vincent with finger cymbals and a kaftan, a talent blooming on her own terms. [Oct 2015, p.106]

It proves to be an entertaining and profitable arrangement. [May 2010, p.112]

Cape God might be an awful place to visit, but the tunes are great. [Apr 2020, p.114]

Seeking Thrills is an artfully constructed yet instantly enjoyable tribute to dancefloor deliverance in all its forms. [Feb 2020, p.117]

A solid, rather than remarkable record. [Summer 2019, p.115]

Both melancholic and gleeful, down-home yet artful. [Mar 2005, p.104]