Williams has offered much to admire, and even more to contemplate. [Mar 2016, p.119]

The most successful tracks are those where Tricky is front and centre. [Mar 2016, p.117]

They're derailed by a dearth of new ideas. [Mar 2016, p.116]

One can't shake the feeling that This Is Acting was compromised from the start. [Mar 2016, p.114]

And so, yet again, Prince remains an artist in sore need of an outside editor. Still, if your attention span as a Prince fan has been sorely tested, HITnRUN Phase Two is a good point to reconnect with him. [Mar 2016, p.113]

It's a collision of classic rap skills and singular beats that makes this album outstanding and far more substantial than its "prelude" billing implies. [Mar 2016, p.110]

For a marriage of new ideas with old traditions, look no further. [Mar 2016, p.108]

The production is pitched halfway twixt Adele and Bastille, and All I need feels like the album that will kick Foxes up from the second tier to the A-lists and playlists. [Mar 2016, p.110]

If Williams would only take the time to explore just a few of the ideas he presented here, his album would be far deeper than it is broad.[Mar 2016, p.117]

Barry Adamson has often broadcast his affinity with tortured individuals at breaking point. This has found raw expression in his solo work, and Know Where To Run does not deviate from the script. [Mar 2016, p.105]

They are slowly getting closer to realising their original aim. [Mar 2016, p.109]

These unforeseen electro-moves should rightly bag fresh converts. [Mar 2016, p.113]

A wildly inventive yet mainstream sound that suits her lyrics. [Mar 2016, p.106]

As her voice took centre stage on the original recordings too, the effect of stripping away almost everything else isn't that radical. Still, for anyone unfamiliar with Foster's work, this represents an excellent starting point. [Mar 2016, p.110]

Including songs by Neko Case and Nick Cave, this fine album reaches way beyond the church. [Mar 2016, p.115]

The sound of a man finding freedom, it's an impressive reincarnation. [Mar 2016, p.112]

The thematic predecessor to this LP underlined Yoko Ono's re-evaluation as a musical envelope pusher by a new generation of artists including Cat power, Spiritualized and The Flaming Lips, who all reworked moments from her back catalogue. This sequel successfully repeats the trick. [Mar 2016, p.112]

SVIIB is a memorial, yes, but it's a glorious one. [Mar 2016, p.107]

It's undoubtedly her strongest record yet. [Mar 2016, p.111]

A collection of electronics-based tunes, drifting, gently paced but surprisingly torpid. [Mar 2016, p.108]

The over-punctuation is the least unnecessary thing about the lame pop of Shark Attack!!!!!!!!!!, meanwhile, the second half is noticeably more restrained, and aL the better for it. [Feb 2016, p.111]

The whole album yields a little more magic with each play. [Feb 2016, p.118]

Their second LP is an aged-in-the-wood delight of fiddle, mandolin, accordion, guitars and keyboards texturing swinging rock'n'roll. [Feb 2016, p.117]

Their third album pulsates in glorious obliviousness to all interim "developments" in rock. [Feb 2016, p.115]

He more often turns the spotlight on himself, raw and uncompromisingly direct in a way that only an album recorded in a few short days can be. [Feb 2016, p.115]

A boot-stomping blast from start to finish. [Feb 2016, p.110]

Slightly wan and wispy. [Feb 2016, p.119]

Stanley Park, Hornets and Magpie carry a wistful, charming nostalgia about them, but maybe it's a generation too removed making In The Magic Hour's nods to tradition often superficial rather than tapping into the music's deepest heartbeat. [Feb 2016, p.115]