There's less emphasis on programmed beats and samples and a greater dependence on live instrumentation. [Apr 2005, p.114]

While it frequently feels like a particularly inspired "Mighty Boosh" number, the absurd ambition, chutzpah and execution of it all is perfectly awesome. [Nov 2008, p.89]

Fans of Iron & Wine and The Acorn take note. [Jun 2009, p.96]

Cornershop's 2009 incarnation may not have the kinetic energy of the 2002 model, or the accidental pop brilliance of "Asha", but it isn't short on inventiveness.

Though the sonic palette, beautiful and immersive, warm like a hot mug in the frost, the dubstep-derived hints of double-time, perpetually held in reserve, create the ominous feeling of an attack dog straining at the leash. [Apr 2016, p.69]

Inessential, but huge fun nevertheless. [Mar 2005, p.91]

Nova's smoky, sullen vocals sometimes sound a little stilted, but she surpasses herself on "You Wanna See My Teeth," a cinematic mini-symphony inspired by the killing of Trayvon Martin, which moves through nervy electro and anguished rock to screaming rage. [Feb 2019, p.30]

Her keenest yet. [Jul 2006, p.108]

Although its boundary-stretching ambition is cheering, Hidden ultimately struggles to engage. [Oct 2012, p.87]

It's a treat to finally hear Moyet stretch herself on a classy and engaging modern collection that's only really let down in places by the santitised electro of one-time Bjork and Robyn producer Guy Sigsworth. [Jun 2013, p.76]

As history lessons goes, it's a lively one. [Mar 2015, p.81]

Little Windows has an easy charm, but doing this stuff well is harder than it looks. [Jun 2016, p.81]

The Colourist & Emiliana Torrini draws on the singer's back catalogue, infusing it with added warmth, texture and elegance. [Jan 2017, p.31]

Effective, if not quite thrilling. [May 2018, p.30]

As a whole, West of Eden is extravagant and ridiculous, but it embraces its own erraticism. [Mar 2020, p.29]

The woozy, lovely songs on their third album now have an unexpected urgency. [Jun 2020, p.34]

An hour-long piece of generative music in Discreet Music's mould. [Jul 2025, p.27]

Fall To Pieces is too slight and elusive to move Adrian Thaws beyond his cult-level comfort zone, but there are appealing forays into flamenco guitar, light-headed Eurodisco and gleaming robo-funk here. [Oct 2020, p.39]

Everyone from Hendrix to CSN&Y to Pink Floyd to Led Zep turns up in their dusky psych-blues-folk blended with a symphonic approach to song construction that keeps Sleepy Sun sounding fresh. [Jun 2010, p.98]

There's a lot going on but Georgopoulos makes it all feel unhurried and effortless. [Aug 2018, p.24]

It's poppier than ever before, with big hooks played with funk and bossa nova fills, fat Balkan brass and imaginative lyrics full of bug-eyed images. [Oct 2013, p.71]

Produced by Bad Seed Jim Sclavunos, this latest project sees her moving away from the playful whimsy of her debut in favour of looser, gritter textures. [Jun 2015, p.75]

Not pretty, necessarily, but pretty good. [Jan 2016, p.75]

Among the handful of minor gems, the title track is particularly ravishing. [Mar 2016, p.71]

Hyperactively wordy and exquisitely tuneful. [Apr 2017, p.39]

'Object' is a highlight, as is the lovely 'Sweetheart In The Summer.' [Dec 2007, p.119]

Acoustic guitar features, alongside synths, samples and field recordings, but for all their adventurism, these songs have structure. Still, diversity rules. [Sep 2017, p.32]

Toxicity is virtually unlistenable: thrash metal splintered into a million pieces by unnecessary time changes, topped off with excruciatingly theatrical vocals. [Dec 2001, p.118]