The Donkeys' debut album was impressive enough, but there;s even more to admire in this fine follow-up. [Jul 2011, p.80]

He's touted as a songwriter's songwriter in Music City, of all places, and the twangy highlights of this album ring true to that accolade. [Sep 2018, p.32]

There are epic power ballads, which just manage to avoid faling into Keane/Coldplay territory; there are terriffic, drone-laden stomp-rockers....The use of saxophone, however, is ill-advised, and Lightburn's voice can get a little ponderous. [Dec 2008, p.88]

Bewitching. [May 2017, p.30]

Emmy's startling pure voice is a vehicle for some smart, candid and subversive lyrics. [Mar 2009, p.87]

It's a most welcome trip back to what he does best. [Feb 2014, p.81]

The trio's captivating blend of archive voiceovers, yearning harmonies and melodic lushness proves as compelling as Hannah Peel's vocal daring. [Apr 2016, p.76]

Ten-minute jazz romp "Night Terrors" aside, Berry's sweet tooth brightens what is otherwise his straightest set yet. [Oct 2016, p.25]

A sumptuous set of gloriously gloomy ballads that emphasise Moss's expressiveness as a vocalist. [Dec 2018, p.28]

Margo's curled-lip rock sneer and urgent folk purity stay sides of the same coolly distanced conviction. [Apr 2022, p.26]

Moving On Skiffle is richer and more sophisticated [than 1998's The Skiffle Sessions] but has a lightness of touch that recalls Bruce Springsteen's delightful 2006 album of Pete Seeger reinterpretations, We Shall Overcome. [Apr 2023, p.27]

herring's poetic analysis of a recent break-up makes it all a compelling listen. [Nov 2020, p.29]

Hippo Lite feels like Le Bon and Presley's own little musical microclimate. You don't have to know exactly what they're on about to recognise that it's something special. [May 2018, p.25]

It's both Gothic and arch, meaningless and amusing. [Nov 2006, p.110]

They run out of steam completely towards the end.... But there's still plenty here to justify giving up your heart to that simple chord all over again. [Sep 2003, p.110]

A return trip worth taking. [Sep 2019, p.29]

It's dumber, filthier, sturdier and packed with more euphemisms than Viz's Profanisaurus. [Aug 2006, p.104]

It will, rightly, go a long way to repairing Pete Doherty's reputation as a singer and songwriter of note. But half of it is a bit boring.

This is folk music given the widescreen treatment and a crisp, modern sheen. [Oct 2011, p.91]

While her voice remains breezy, follow-up If You're Dreaming is a different beast: slower in pace and softer in tone, the weariness of touring life sneaking into the party-girl lyrics. [May 2020, p.25]

Truly terrific. [Jul 2011, p.96]

They're at their best when they dial down the melodrama. [Sep 2015, p.77]

Happily, the music Stewart's art rock collective make on their seventh studio LP tells a more playful and diverse story, incorporating vivid punktronica, delicate ambient moodscapes and icy chamber-pop. [Mar 2010, p.107]

When Trampin' doesn't work, though, it plods, though never as badly as the worst bits of Gung Ho. [May 2004, p.94]

A free and forward-thinking kind of record, but also one that taps into forgotten, mythic resonances of American music without ever sounding ersatz, hokey or remotely contrived. [Mar 2004, p.92]

Rustic, rowdy, bags of fun, Life On Other Planets is another Supergrass masterpiece. [Nov 2002, p.118]

One of the year's most uplifting records so far. [May 2007, p.99]

The Living Sisters have put their respective groups aside to concoct a delicious LP straddling the genres. [May 2010, p.97]