Their sound brilliantly pays homage equally to the sparkling melodies of C86 and the lunk-headed bounce of punk rock. [Apr 2011, p.110]

Georgiadis and his crew have all the chops and charisma to pull this lunacy off. [May 2015, p.114]

From the off, it's beguiling stuff. [#361, p.108]

They retained their best ideas for themselves though, since their debut album is striking escape from mere genre. [Review of UK version]

It's a winningly fluid mix of on-trend beats, intriguing cameos and subtle, Eastern-influenced melodies. [Aug 2019, p.113]

It's the fiery One Up, One Down and the four zigzagging interpretations of Impressions that truly add tot he indispensability of this set. [Aug 2018, p.119]

A rare treat, with Jones' stripped-back, largely acoustic band brilliantly framing that voice... [Nov. 2000, p.109]

The voice may be more Grandpa Simpson than Grand Ole Opry these days, but the spirit on Ramble At The Ryman live set is unbeatable. [July 2011, p. 106]

Idlewild have added a new "dirty bomb" to their armoury: the emotional resonance of prime Morrissey/Marr. [Aug 2002, p.128]

Both [discs] are full of surprises. [Oct 2004, p.115]

There's such a huge feelgood swagger it's impossible not to be swept along in its wake. [Jun 2004, p.96]

While partly rooted in grief, the songs here see magic in the mundane, the music's dreamy qualities fracturing into hallucinatory passages of cut-up vocals. [Dec 2019, p.109]

Akchote can still serve up a dancefloor banger when required. ... Although its on the album's closing track that he discovers the perect balance between artistry and energy, silken-voiced R&B singer Gallant turning Run For Me into a heady EDM ballad that elevates his signature beats to new heights. [Dec 2019, p.115]

The Understanding raises their game, mainly with its careful attention to one key musical detail: great tunes. [Aug 2005, p.132]

The best Nelson set since 1996's Spirit. [Dec 2006, p.138]

The Death Cab For Cutie man turned his vision to a series of alternate realities. [Dec 2012, p.105]

Marshall sounds at peace here, and back to his best. [Apr 2020, p.110]

Ominous fourth album from the masters of emotional turbulence. [Oct. 2010, p. 118]

This utterly beautiful balm of a record feels less like a confessional, and more a vessel for warmth, serenity and worldly wisdom. [May 2020, p.114]

Club Meds is a bold move from a rapidly developing talent. [Feb 2015, p.110]

Seventeen years on,... Cake have lost none of their bite. [Feb. 2012 p. 101]

This is the rarity of a hits collection from a band still at the top of their game. There's plenty more to come. [Jan 2014, p.131]

Melodically subtler than Friedberger's past albums, Rebound still swings thanks to her innate, and often-overlooked, knack for songwriting. [Jun 2018, p.112]

Music Kills Me occasionally drifts into the overly familiar world of laid-back jazz grooves, Latino rhythms and flutes, but there's enough elsewhere to intrigue. [Apr 2002, p.120]

Its gorgeous chamber-pop is painted from a muted colour palette, with Farfisa organs, Hollies/Mamas harmonies and lyrics about weeping willows and late afternoons. [#361, p.108]

Call The Comet firmly underlines Johnny Marr's commitment to his solo career. [Aug 2018, p.110]

Their debut album's secret arsenal comprises frontman Chris Martin's voice - prematurely aged for someone in their early twenties - and some supple, persuasive melodies. That and a great big side order of melancholy.

With Amidon's intimate, unshowy voice inderpinned nu melodic, folky guitars, minimal electronics and elegant strings of post-classical arranger Nico Mulhy, its ability to beguile is considerable. [May 2010, p. 112]