While it's very much a rock album... it kicks in a very 'now' way (this ain't Tin Machine). [Oct 2003, p.112]

Magic Time ultimately reveals itself to be the sort of strangely mixed bag that will be all too familiar to those who've hung on with patient, fervent belief through the '90s and beyond. [Jun 2005, p.114]

A mini masterwork of magic-realist Britpop melodrama. [Apr 2006, p.108]

It sounds more like a busk than a serious recording session, and that briskness is its strength. [Feb 2011, p.83]

Banjos, acoustic guitar, pedal steel and piano arrangements honour the songs' origins and add lilting texture to an album that will charm those who hear it, irrespective of their age. [Dec 2011, p.104]

Tiden follows much the same formula [as 2011's Stunden] of Satie-esque piano sketches nestled in softly lapping rhythms, muted electro shadings and vaguely lysergic drones.

Whatever it is that keeps him singing still packs a potent emotional punch. [Oct 2016, p.35]

The result is park reckoning and part explosive joy, as the band lean further into the hip-hop side of their influences. [Jul 2020, p.36]

Weird and sporadically wonderful. [Jul 2020, p.39]

The five new tracks that open proceedings, however, fail to add much to band's remit. [Dec 2007, p.102]

A happy music that isn't bland; Held In Splendor makes that toughest of tricks sound easy. [Mar 2014, p.82]

For anyone who fretted that Glory Hope Mountain might have been a beautiful fluke, No Ghost confirms The Acorn's credentials, building thrillingly on the band's ability to access a variety of moods and textures. [Jul 2010, p.121]

Some sound like strange nursery rhymes; some like surreal Eurovision entries. All are very good indeed. [Oct 2010, p.85]

The once robust voice is thinner but still gruffly effective. [Oct 2020, p.39]

Dear Heather is Cohen's highest tide yet, his most exquisite marriage of song and poetry and ambiguous grace. [Nov 2004, p.114]

Sweet at its core, but pleasantly dark around the edges. [Feb 2014, p.76]

You Have Already Gone to the Other World, produced by Deerhoof's John Dieterich, is their best yet. [May 2013, p.65]

As a whole it feel overfamiliar, with little of the cohesiveness that made, say, Les Revenants so powerful. [Oct 2018, p.30]

If Egypt Station is quite startling enough to shift preconceptions about the most famous musician on the planet, it's sufficiently vibrant to justify its existence, and strong enough to ensure that McCartney can sprinkle three or four tracks into the set on his upcoming world tour without setting off any alarms. [Oct 2018, p.28]

Katy B weaves various threads of London clubland into glittering pop flax, and this second LP is a triumphant consolidation of her position as the voice of nocturnal youth. [Mar 2014, p.78]

Molina's songs achieve the kind of epic, majestic sweep his ambition and talent have long suggested. [Jun 2005, p.104]

Luminous versions of American folk songs and old English ballads, alongside works by Lour Reed and Joy Division. [Mar 2018, p.35]

Despite flashes of intense beauty, the going is heavy. [Jul 2018, p.30]

A series of esoteric, danceable, frequently amusing stories about sleeping in gardens, body waxing and Swansea. [Jan 2019, p.19]

Powerful and intriguing stuff, but the emotional spark never quite catches. [Feb 2017, p.21]

A bargin it might be, but the triumphs of yore tend to expose the new album's low-fi rockabilly and country strums. [Jul 2009, p.95]

Damon Albarn and Portishead's Beth Gibbons drop by to provide some haunting counterpoint to DOOM's gruff verbal gymnastics. [Oct 2012, p.83]

There's barely a duff track here, from the talking gothic blues of "The Pill" and the slinky Monks-esque strut of "Isolation". Top marks, though, go the pulpit croon of "(Sometimes You Got To Be) Gentle". [Dec 2009, p. 97]