True, the Estelle-sung can't Wait sounds out of place, but elsewhere this is an estimable example of making things just like they used to. [Sep 2013, p.99]

[A] frequently sublime follow-up. [Oct 2013, p.105]

Boy King is an album that exudes confidence to try new things, to experiment, to pull things apart and pull them back together again. [Sep 2016, p.100]

The two-part "Metal Bird" is genuinely thrilling. They don't scale such heights elesewhere, but this is still an album that rewards perseverance. [Mar 2010, p.108]

Nothing Important is madcap, abrasive and, at times, laugh-out-loud funny. [Jan 2015, p.124]

An album of abundant imagination, if elusive meaning. [Sep 2018, p.110]

Powder Burns could be a sister album to Black Love, [Afghan Whigs'] career high. [Jun 2006, p.114]

Far from being a downer, these songs are frequently sublime. [Feb 2016, p.113]

The results can veer wildly from the alluring to the downright alarming. Yet Gately's ear for melody holds it all together. [Dec 2016, p.106]

Heartbreaking Bravery's pop sensibilities take Moonface out of his bizarre world and into a place much more accessible. [May 2012, p.101]

On this career highlight they deliver their memorandum as effectively as at any time in their 30-odd-years of operation. [May 2013, p.113]

A curious third outing. [Oct 2005, p.117]

DeVotchKa's preference for songs that don't necessarily result in feverish fopsweat actually serve to highlight much mongrel charm. [Apr 2008, p.107]

The whole thing comes with a sort of knowing childishness, like reverting back to your most obnoxious teenage self after 10 Minutes with your family. [Apr 2016, p.112]

For the most part, Made In The Dark pulses with an unusual intelligence and creative bravery. [Mar 2008, p.101]

They're talented then, but also lucky that the strength of the decent songs outweighs the inclusion of the odd rough sketch, a studio jam, and an outright Chas & Dave-style stinker. [Dec 2002, p.103]

Houck's trip through Nelson's 60-plus albums shows such love and attention the great man himself could only approve of such hangover gems as 'I Gotta Get Drunk.' [Mar 2009, p.101]

This time, Lemmy Gurtowsky and Dan Jones are joined by guitarist Zach Brower and drummer Cole Lanier. The pair have slowed them down in a good way. [Apr 2015, p.97]

Startlingly original. [Apr 2007, p.117]

Coda mopped up odds and sods and two new discs include Page and Plant's 1972 recordings with the Bombay Orchestra. [Sep 2015, p.121]

These songs' surfaces are fastidiously arranged - but in his delicate vocals and allusive, nervy lyrics, Westerman still stirs up darker, less elegantly curated depths. [Summer 2020, p.107]

An otherworldly, richly cinematic adventure. [May 2004, p.98]

A startling collection of heart-bruising ballads reminiscent of Nick Cave at his most maudlin. [Aug 2003, p.115]

Most of the music here finds Earle in admirable form. [Oct 2002, p.106]

The most successful synthesis of their prog-tinged ambitions so far. [Apr 2003, p.102]

Another beautifully scored Divine Comedy album that sounds a bit like Scott Walker and a lot like the last one. [May 2004, p.102]

Sees WK adding a little more classic rock sensibility to his high-energy party metal. [Oct 2003, p.100]

The likes of the gnarled, rough-edged Rollin' & Tumblin' serve as vital pieces of living history from the last of a generation. [Dec 2001, p.120]