His seventh album sees Vile cement his place as an artist following his own lead. [Nov 2018, p.103]

From sterling ballads to punchy rockers, it's a classy set. But the initail post-Obama musings of Welcome To The Future already seem dated and, as ever, it's hard to know where the buyer will come from. [Aug 2010, p.124]

Like all the best break-up albums, Who Needs Who bleeds heartache from every lyric, but keeps faith in music as the surest form of consolation. [Oct 2012, p.97]

Onwards and upwards. [Oct 2013, p.109]

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

All compensate in quality for what they lack in originality. [Aug 2014, p.107]

The newly remastered version is also bolstered by three additional track as reclaimed from the vaults. [Apr 2011, p.114]

Their finest record since 2002's Light & Magic, Ladytron achieve near perfection here. [Apr 2019, p.114]

[This fifth album] still sounds refreshingly unconventional. [Apr 2014, p.116]

Maybe having others to lean on in the big bad world brings the best out of Fullbrook, who sounds bright and confident where once she was charmingly hesitant. [Jun 2014, p.122]

These are songs concerned with the transient, the fleeting, but no matter how long this partnership endures, this is a solid monument. [Apr 2019, p.110]

The British collective's first album in 12 years reopens their conduit for nocturnal electronic, modern classical and tempestuous jazz, all in an engaging wash. Credit their bold selection of vocalists. [May 2019, p.108]

Joseph D'Agostino's voice can get a little grating: too often he's hysterically over-emoting. [Oct 2014, p.107]

The dizzying "Here Comes All The People," this roller-coaster album's highlight, merges post-punk trash with whispered vocals, orchestral wizardry, funky guitar, tub-thumping drums and Snow Patrol-esque grandeur. [Apr 2010, p.115]

Another slug of moonshine and a rootsy rock from the Georgia sextet. [March 2011, p. 108]

There's a real elegance, even a joy, to the way he mixes his dark materials. [Nov 2019, p.112]

While this album carries more instrumental and emotional heft than its predecessor, something remains off-balance. [Jun 2010, p.130]

Despite its running time and the magpie-like pilfering, on this amusing and bemusing album Mount never seems remotely in danger of repeating himself--or, for that matter, anybody else. [Oct 2019, p.112]

Hunting My Dress rejoices in an off-the-cuff dreamlike sensuality, pitching and rolling in all sorts of pleasingly unexpected directions. [Dec 2009, p. 115]

Rub reboots the elements that made The Teaches Of Peaches the essential electroclash album back in 2000. [Nov 2015, p.113]

The gloom is unyielding, but so is the lightness of touch and few albums will encapsulate 2017 with such elan. [Jun 2017, p.112]

While The Singles offers a skewed perspective on their career, the real attraction lies in the rarity of some of the material, such as Turtles Have Short Legs. A must for diehards, then. [Aug 2017, p.113]

The levity of the words is the perfect counterbalance to the fury of their playing. [Nov 2015, p.110]

Post-industrial punk with little to smile about. [Aug 2004, p.110]

Intriguing, stylish stuff. [May 2004, p.111]

It's a solid return. [Nov 2007, p.137]

The 32-year-old's always-phenomenal flow is now matched by weighty content. [Sep 2017, p.112]

Screen Memories feels like the cryptic overspill, gnomic fragments of ideas and visions embedded in gloriously baroque synth-pop. [Dec 2017, p.109]