In the wrong hands this mish-mash could be a colossal disaster, but delivered through the inimitable vocals and presence of Eno Williams, it melds gracefully. [Apr 2019, p.31]

Erasure has yet to really match the duo's early imperial phase, but here Andy Bell and Vince Clarke dish out the cosmic showstoppers with all the elan of their 30-year-old selves. [Oct 2020, p.31]

The intense grandeur... is still quite a shock. [Feb 2007, p.73]

This is a rock record, and Samson's band functions as the sharp teeth to his lucid tongue. [Jan 2008, p.112]

Smith sounds urgent, fresh and revitalised. [Sep 2008, p.100]

The primary revelation of Elsie is Fallon's voice. [Oct 2011, p.90]

The duo of Matt Carlon on Modular synthesiser and Joanthan Sielaff on bass clarinet, are onto something with Seer. [May 2014, p.74]

It's clear Masin has not catered to his new hipster audience but rather remained true to his elemental vision. [Mar 2020, p.33]

The likes of “D&T”, “Alice” and the cheekily titled “A Gaslight Anthem” are destined to inspire sessions of air-punching by anyone who still believes a life might be saved by three chords, the truth and a glass of the good stuff. [Nov 2024, p.37]

Flashbacks to The Orb's Adventures Beyond The Ultraworld and the KFL's Chill Out are inevitable, but there are woozy hints of early Black Dog on "C," too. [Mar 2015, p.77]

With the aid of some of the finest session musicians in Chicago, Hayes concocts a creamy rock'n'soul fantasy that answers the question: what if Jimmy Webb had teamed up with Thom Bell to write for Marc Bolan? [Oct 2009, p.98]

Everyday Robots is a less ebullient, more intimate and reflective affair, as befits the tentative revelation of a man's soul. [May 2014, p.63]

Having branched out by working with everyone from Patti Smith to Mark Linkous, one of the UK's most gifted all-rounders returns rejuvenated with a fifth LP as positive and confident as 2006's "The Beautiful Lie" was moodily introspective. [Jul 2010, p.108]

It's the natural, assured way in which Heaven Is Whenever moves between building on past glories and breaking fresh ground that's so impressive. [Jun 2010, p.85]

You have to adjust to its lack of ornamentation and let it settle, seep, uncurl like smoke or love. And there are songs here to equal his best. [Album Of The Month, Dec 2001, p.100]

A vivid, shapeshifting debut album. [Nov 2013, p.74]

His wavering voice embraces sun-kissed pop on "Always The Right Time," twilight noir on "Leaving California"--and most emotions in between. [Mar 2017, p.28]

Their gem-like guitar pop songs start meandering a little. Altogether, though, In Mind feels like a collective exhale. [Apr 2017, p.37]

"Tired" and "A Couple Highs" rather drag their feet, but the freewheeling "Lies" and terrific title track easily compensate. [Jul 2019, p.34]

A quietly spectacular bunch of songs. [Jun 2020, p.28]

It's unsurprisingly a multicultural, extravagantly arranged collection. [May 2021, p.32]

The results are radical without losing sight of Garcia's original vision. [Dec 2021, p.27]

It takes up where 2019's Infest The Rats' Nest left off, though was pieced together from improv jams. [Aug 2023, p.33]

The result is exhausting, an album of songs that all want to be showstoppers. [Dec 2011, p.86]

Atmospheric post-grunge is the order of the day, but while the likes of "Census" is dynamically tight, the impression is of talented technicians, not great songwriters. [Sep 200, p.83]

Too often, though, these chant-a-long anthems are too damn chirpy for their own good. [May 2012, p.71]

The template remains intact, with monotony fundamental: The Necks lend the title track's repetitions a shimmering, slowly evolving transcendence, Anna Von Hauswolff and sister maria provide bloodcurdling shrieks on the devastating, pummelling "Sunfucker," and Baby Dee adds voodoo magic to "The Nub." [Dec 2019, p.32]

Their most convincing, most composerly music to date. [Feb 2004, p.69]