Hip Mobility favours digital modernism over analogue nostalgia, yet admits the wonder and romance inevitably in play. [Aug 2017, p.35]

A rather good LP of socially conscious R&B. [Sep 2021, p.46]

As stylishly coherent as it is surprising. [Mar 2022, p.26]

Who Is The Sky? benefits greatly from Byrne's singular perspective as a songwriter. It also shows how much more expressive he continues to become, even here in his eighth decade on Earth. [Oct 2025, p.26]

The trio [Badbadnotgood] create nuanced, immersive contexts for the rapper's narratives: occasionally dialed in, at times surprising. [Mar 2015, p.71]

It's frequently wistful, sad and nostalgic. Yet Cooder's eccentric storytelling style and his prankish, Sufjan Stevens-ish take on Americana also sounds oddly contemporary. [Apr 2007, p.99]

Escovedo is as reflective as he is melodic. [Juul 2010, p.116]

Bring On The Sun is a sprawling collection, encompassing everything from euphoric zither washes to jazzy beat poetry, without ever losing sight of its mood of sunny positivity. [Nov 2017, p.30]

But for all the rueful, wistful, middle-aged preoccupations of History Books, its two most emblematic tracks, "Little Fires" and "Positive Charge", catch The Gaslight Anthem at their most glorious and furious. [Dec 2023, p.30]

At times (“Matter Of Taste, “Got A New Car”), the inventiveness lands with a clunk. However, it’s a generous record, emotionally fearless and thoroughly likeable on first listen, while Perry’s voice can’t help but convince. He’s only just begun.

La Radiolina reaches out beyond it's core audience to a universal constituency, not so much a world music record as a global-rock mission statement.

Superabundance sees the trio break away from the neo-post-punk pack, in one swoop, but without sacrificing one calorie of their furious energy. [Apr 2008, p.109]

An album that reveals fresh layers on every listen. [Jul 2019, p.33]

Swedish pop producer Patrik Berger brings a new clarity to Boman's work without disturbing the delicacy of her performance. [Feb 2020, p.25]

“The Shame Of Love”, “Splinter” and “Mouthful Of Blood” successfully concealing Black Flag-worthy spleen behind a comforting veneer of distorted guitars, sunny Mellotron and Carpenters-compatible melodies. [Jul 2021, p.27]

There's a tense, nervous energy o songs such as "Obsession", "Our Song" and "Oversize Sweater" and surprises aplenty. [Sep 2023, p.34]

This album pushes and pulls in so many directions, it should fall apart; remarkably, it doesn't. [Apr 2016, p.72]

It's worth getting lost in their groove. [Jun 2011, p.93]

While the arrangements are loaded with clever touches, the LP comes off like an exercise in technique, preventing Price from reaching the transcendent moments she's clearly capable of. [Mar 2016, p.76]

They've sorted through a kitbag of 80 songs and made good on the potential. [Apr 2011, p.77]

Nothing sounds more dated than an ageing futurist, and it's only when Trent cuts loose... that we get a glimpse of the world-beater we know he can be. [May 2007, p.103]

This score suggests many of those Nine Inch Nails tricks hold good. [mar 2012, p.97]

The trio only really let loose on their sprawling, wailing cover of Jonathan Richman's "Don't Let Your Youth Go To Waste." [Feb 2006, p.86]

The sounds on Smart Flesh may be muted, but there is power and daring in its pursuit of stillness. File under: a quiet Storm. [Mar 2011, p.84]

Though lacking killer songs, Wainwright is always a compelling vocalist, variously evoking Patti Smith, Debbie Harry and Piaf. [Dec 2016, p.38]

An LP that's uncharacteristically respectful of the traditional country and hushed folk idioms that make it up. [Nov 2011, p.81]

Mitchell's sophisticated Memphis funk gives Green's voice the fuel to float. [Apr 2005, p.97]

First-time producer Justin Townes Earle has succeeded Jack White as guardian of the Wanda Jackson sound, guiding her through a fascinating mix of covers and originals. [Dec 2012, p.72]