A bold leap forwards. [Apr 2008, p.98]

On the likes of "Said And Done" Frahm conjures up a mood of melancholic introspection that makes this accomplished, genuinely pretty set a serious (if rather less extravagant) rival to Gonzales and Andrew WK's recent piano excursions. [Feb 2010, p.84]

This album finds him in complete mastery of his musical range and lyrical fancies. [Apr 2010, p.91]

The Leeds-based electro-rock five-piece set their sights shamelessly high on this grandiose second LP, a novelistic collection of characters journeying through a lavish panorama of cinematic sounds. [Mar 2011, p.101]

His first album in 14 years sounds more like a Ronnie Barker pastiche, constantly playing for laughs and often reworking the calypso rhythms of "Annie I'm Not Your Daddy." [Nov 2011, p.89]

Guitarist Dan Moss writes the songs, but it's Katherine Whitaker's voice that give them life, and the more space she has, the better the result. [Jun 2012, p.71]

The Killer is a rich and immersive experience. [Sep 2012, p.85]

They sacrifice a bit of their identity in the trade-off [to be more pop.][Feb 2013, p.80]

The partners [Peyroux and producer Larry Klein] and arranger Vince Mendoza breathe new life into iconic songs. [May 2013, p.75]

The DJ, producer and singer-songwriter's solo third suggests there's no shame in sticking to your retro-futurist guns, as long as you fire off the odd unexpected volley. [Jun 2013, p.76]

It's united by the long shadow of Ibizan euphoria that hangs heavy over his genre-crossing dance music. [Sep 2013, p.95]

12 dark, noisy tracks blessed with unexpected details. [Mar 2013, p.75]

The overall tone may be sombre but it's expressed with such a weightless delicacy, shaded with occasional harmonica and piano, that it's hard not to feel transported. [Apr 2014, p.77]

Some of the vocal numbers feel like cluttered indie-dance throwbacks, but they are outshone by pure electronic creations. [Apr 2015, p.80]

The evenness of the performances here is striking. [Jun 2015, p.74]

On this luminous nine-song LP, Souther adheres to the old adage--leave them wanting more. [Jun 2015, p.81]

These 12 tracks confirm Chris Difford and Glenn Tilbrook's melodic talents, but leaden exposition lyrics... make the grisly bits last a lifetime. [Oct 2015, p.83]

Unreconstructed but entertaining when they get the balance right. [Feb 2016, p.76]

Tasteful stuff, for sure, but The Gamble could take a few more risks. [Mar 2016, p.77]

This is a fairly functional set of no-nonsense instrumental cyber-boogie that lives up to its title by bucking and slithering across the dancefloor in an elegant if anonymous fashion. [Jun 2016, p.75]

Their take on good old-fashioned rock'n'roll can be a bit shaggy, but it's surprisingly arty. [Jun 2016, p.74]

The racket they raise compensates in exuberance what it lacks in subtlety. [Dec 2016, p.37]

The guitars sound grittier, the vocals bolder, the tempos just a bit faster, and her range much broader. [Mar 2017, p.35]

Best are tunes that showcase Cash's plainspoken lyricism and mould his musing into fully formed songs. [May 2018, p. 37]

There's an appealing American cynicism lurking beneath their enchanting '60s doo-wop-indebted sound. [Jun 2018, p.30]

Parish's songs, alternately folksy, swampy and lonesome, are sometimes fleeting, capturing moments in the ether and preserving them in amber. [Jul 2018, p.33]

The lyrical content from MCs B-Real and Sen Dog is fairly rote, but a widened sonic palette keep things interesting. [Nov 2018, p.27]

It's Creevy's charismatically odd lyrics and playful, St. Vincent-style subversion of angsty feminine stereotypes on provocative curios such as "Daddi" that keeps us transfixed. [Mar 2019, p.26]