These songs won't set the charts alight, but they're no insult to Adamson's memory and will fill the gaps between the fan favorites well at the band's shows. [May 2013, p.96]

The Savage Heart is the Revue's third album and is comprehensively their best to date. [Nov 2012, p.98]

Rather too many hats, perhaps, but still an impressive showcase. [Mar 2013, p.105]

At times it verges on beautiful classical pop. At others, it's like listening to a taxing piece of modernist musical theatre. [Aug 2013, p.105]

Dark and greasy, The Other Life is where Shooter's past and present finally come to terms with each other. [Aug 2013, p.105]

Magnetic sounds like a TV talent show judge's idea of rock music from a band capable of much better. [Jun 2013, p.98]

This is a ludicrously enjoyable record, shedding Razorlight's US-targeted bluster and awkwardly stalking that curious mid-70s musical patch where pub rock and glam shaded into punk. [Aug 2013, p.97

It's a frustratingly inconsistent affair. [Aug 2013, p.97]

The experimental approach drifts into plain old messing about more than once, but when he gets it right, it's superb. [Aug 2013, p.99]

They are by turns wistful, quirky and very, very beautiful. [Aug 2013, p.100]

Marchant is at his best on the more forceful material. [Aug 2013, p.99]

The Argument is a wondrous thing, full of its own joy. [Aug 2013, p.99]

A few pop-soul cliches creep into the album's cluttered middle section. But the rest is 21-st-century electronic pop delivered with style and ambition. [Aug 2013, p.106]

The whole thing is raw, exhilarating and completely compromised. [Aug 2013, p.102]

It's the overall sense of joie de vivre which makes Where The Heaven Are We such a triumph. [Aug 2013, p.101]

Deep is the word here. [Jul 2013, p.109]

[Cohn reprises] his thick, often indecipherable Midwestern accent, but with spot-on timing and flashes of surreal wordplay. [Aug 2013, p.104]

Occasionally slightly Gallic, but consistently intoxicating, it's a trip definitely worth taking. [Aug 2013, p.103]

The austerity of the songs occasionally makes the listener feel as though they have stumbled upon some hand-scrawled diary entries. [Aug 2013, p.102]

Stick with it, though, as the last song, the elegant memorial Somehow The Wonder of Life Prevails, turns out to be a piece of quiet and hugely emotional brilliance. [Aug 2013, p.100]

Only Haim's contribution to Red Eye enlivens the tedium. [Aug 2013, p.99]

Too much of This River is more The Commitments, less The Bar-Kays. [Aug 2013, p.98]

His ambitions, and trademark gruff delivery, are here assisted by a new generation of drum'n'bass producers. [Aug 2013, p.96]

He is a great storyteller and Still Fighting is littered with broken war veterans, bruised lovers and others thrown on to life's scrap heap. [Aug 2013, p.95]

It takes a while to adjust to the darkness generated by these songs of loss, age and adultery, but once you have, you won't want to leave Shah's night visions behind. [Aug 2013, p.104]

For the most part, though, there are too many soggy love songs such as the interminable Give It Back To You and too many moments where they cross the line between smart and smart-arse. [Aug 2013, p.94]

At times his magpie approach lacks focus, but when it all clicks Blunt achieves a transcendental beauty. [Aug 2013, p.95]

The more you ignore Bell X1, it seems, the better they get. [Aug 2013, p.94]