She's making a bid for the mainstream, even recruiting ex-ELO mainman Jeff Lyne to her corner on five tracks, including grandiose highlight 'Human Of The Year,' a three-minute distillation of the album's overriding facination with religion. [Aug 2009, p.104]

While Vance's pipes are impressive--a mix of Van Morrison and John Fogerty--it's his lyrical googlies that hook you in. [#361, p.116]

This 35-minute suite is hypnotically cinematic, skillfully orchestrated. [May 2014, p.119]

Magician's Success and the Can-does-The-Normal bleep of Backstroke could be missing soundtracks to some experimental Cold War animation. [Aug 2019, p.116]

A seedily romantic, kitchen-sink paean to London, We Love The City finds Hefner's previously wan guitar stylings given a coat of production lustre.

The riffs are cleaner and catchier than on previous records. [Aug 2002, p.126]

A powerful work, noble in both intent and execution. [Nov 2004, p.110]

Far from rocket science, but immense fun nonetheless. [Jun 2006, p.117]

Sexsmith's best record since his self-titled second album of 1995. [Jun 2006, p.119]

[A] terrific collaboration on DeLorean's life story. [Mar 2008, p.108]

What Humanz lacks in memorable hooks, it makes up for in fist-clenching spirit--and We Got The Power sums that up best. [Jun 2017, p.113]

Weber's trademark fusion of cascading chimes and subdued yet propulsive rhythm has expanded radically in scope. [Jul 2016, p.113]

Brilliant debut, splicing rock, modern pop and EDM. [Aug 2019, p.116]

This most recalls their masterful Through The Trees, only with pedal steel, banjo, bowed saw and some of their best harmony vocals yet. [Oct 2003, p.104]

It's a sensational return. [Sep 2017, p.115]

Bowie's best music since Scary Monsters. [Oct 2003, p.101]

This is largely intense, liberated stuff. [Nov 2004, p.111]

It's impossible not to be swept up in the exuberance. [Feb 2016, p.111]

The songwriting here is just undeniably strong and direct. [Jul 2020, p.107]

The Promise itself is a strange thing, less a companion to Darkness than the blueprint for a lost sequel to Born To Run. [Dec 2010, p.118]

There are slamming riffs to be found, but they're still wrapped within synaspse-melting mathcore that requires a PhD to genuinely appreciate. [May 2010, p.112]

By turns wistful, plaintive and overwrought, Solo Piano III is a fitting virtuosic finale to this Renaissance Man's excellent adventure. [Oct 2018, p.111]

It's narcotic, claustrophobic and brilliant. [Sep 2012, p.98]

This is intelligent pop freighted with emotional complexity. [Jan 2017, p.108]

What emerges contains much that's familiar but it's presented in revitalised new settings, with grit, urgency and delicacy in abundance. [Mar 2015, p.117]

Konnichiwa is not just hit-packed, but almost flawless. [#361, p.115]

Even more meandering than its celebrated, if somewhat cold, predecessor. It's also more confident, more coherent, yielding an all-enveloping warmth that's entirely resistant to any iPod shuffle function. [Jul 2004, p.119]

MTMTMK is even more propulsive than their debut. From Kondaine's digitised kwassa kwassa to the deep-house swell of Rudeboy and Mghetto's dub throb, it thumps with worldly street rhythms. [Aug 2012, p.110]