While Finder is as relentless as they come and Intruder punches harder than chase & Status, The Fool details life in a court during the Middle Ages interestingly enough and there's subtle beauty in Eating Hooks. [Jun 2016, p.114]

Their electro-acoustic psych-soundworld can't disguise crisp earwormers. [Oct 2016, p.109]

Warm, understated and authoritative, Day Breaks demands you lean in and listen. [Dec 2016, p.109]

His sequel to the quirky, lo-fi assault of 2007's "Spiderman Of The Rings" has a similarly maniac edge, at once mesmerising and unnerving. [Apr 2009, p.102]

This return proves surprisingly approachable, especially on the four tracks written with French songwriter and producer Woodkid. [Oct 2016, p.105]

An album frontloaded with highlights, and probably too self-consciously cool to charm the mainstream, even when the energy fades there's still enough diversity here for most people to find a favourite. [June 2008, p.146]

The likes of Los Hongos De Marosa glide by in a swirl of subtle beats and understated Spanish vocals, but nothing snags the ear. [Nov 2008, p.118]

[A] blistering debut. [Sep 2015, p.109]

There's a woozy psychedelic spirit behind the gently orchestrated title track and Dream Song's sleepy haze, lending Rault's classicist songwriting an outsider edge. But he never drifts completely free of his moorings. [Sep 2018, p.117]

Understated is a great album, but that's what we've come to expect from Edwyn Collins. [Apr 2013, p.97]

It makes for one of the few Christmas albums that stands repeated listening. [Jan 2009, p.116]

It shows a poetic MVC pursuing catharsis for emotional scars, societal ills and mispent time. [Jul 2009, p.121]

Power has a surprisingly cohesive feel, even as it shifts from the Beach Boys-infused harmonies of On Your Own to Prettiest Ones Fly Highest's hazy, Frank Ocean-like R&B, with only the slinky house beats of Cool Like Me sounding a false note. [Jan 2015, p.125]

Weatherall gleefully proves there's life for house music beyond four-to-the-floor bangers. [Aug 2018, p.114]

Forget the usual, constricting alt-country tag, this is simply a wonderful record. [Mar 2007, p.116]

Four Of Arrows is proof the band can turn on a dime--perhaps they needn't worry about their best songs being ahead of them. [Dec 2019, p.110]

Even at just over 30 minutes, there's a feeling they're running short on new ideas. [Oct 2007, p.98]

If their emergence appears low-key, Everything Ever Written is a quietly triumphant return. [Mar 2015, p.110]

A bewitching, urgent, magical debut. [May 2012, p.103]

The concept might sound dry, but Bertelmann's kinetic approach always sound alive. [Apr 2014, p.110]

The multi-culturally correct Warm Heart Of Africa more than lives up to its title, Nsokoto and infectious Kamphopo being worth a place on anyone's shuffle. [Oct 2009, p.118]

Patchy and sometimes plodding... but that gruff, urgent voice remains a potent instrument in the right setting. [Feb 2002, p.106]

Here, they may have taken self-effacement too far. [May 2003, p.114]

Finds Gough at his most stylistically promiscuous to date. [Nov 2002, p.102]

Cinematic, loaded and decadent. [Sep 2003, p.109]

As lovelorn and jaded as it is unshakeable. [Apr 2006, p.116]

Scouse grump and Philadelphia radicals were made for each other. [Nov 2013, p.104]

Dream Wife may borrow from the best, but are indefatigably joyfully their own. [Aug 2020, p.113]