Singles Collection Volume 3 betrays its genesis as something of a grab bag. [Apr 2014, p.94]

Every note of this compelling album backs her up. [Sep 2014, p.72]

What could be a kitschy nostalgia trip, however, becomes something more thanks to the songs themselves. [Apr 2008, p.94]

An intriguingly diverse "double" (well, 53 minutes) album. [Jan 2019, p.25]

It is gleeful and vigorous, full of echoes, pan pipes, samples and shimmering surf guitars. [Jun 2011, p.94]

As befits a compilation of songs that weren't up to scratch the first time around, 24 Karat Gold contains a few tinpot tracks that even the Nashville boys couldn't fix. Most, too, spill over the five-minute mark. But as fresh testament from one rock's great survivors, it makes for a fascinating listen. [Nov 2014, p.82]

Impressive stuff. [May 2018, p.30]

Although the tongue-in-cheek title nods to the familiarity of these new songs, there's no shortage of ideas. [May 2020, p.27]

Divorced from the visuals, Music From First Cow is just as mesmerising, its 26 minutes of repeated themes, mostly on acoustic guitar and banjo, mixed with muttered dialogue and sound design from the film. [Jun 2020, p.38]

It's a good snapshot of how Hecker approaches such [soundtrack] commissions. But it also suggests there's an occasional paucity of ideas here. [Apr 2025, p.31]

Cool or not, at least they're going for it. [Sep 2015, p.76]

Overall, Butler's pedestrian appropriation of the clunky beats, tinny handclaps and squelchy vocoder effects of yesteryear sound stale and repetitive. [Jun 2014, p.78]

Intriguing, enigmatic and one of a kind. [May 2010, p.90]

Return To The Moon is fully realised and offers plenty of intrigue, but .... rarely do they sound like a unit, and, surprisingly, Berninger is the one that ends up sounding a little lost. [Nov 2015, p.74]

Moth's incessantly hiccuping polysyllabic pop lacks soul and sticking power. [Feb 2016, p.73]

Feedback-soaked rockers like "Little Drama" are played with maximum oomph, but much like, say, Ty segall, Krol laces his songs with all manner of sly twists and turns. [Feb 2019, p.29]

As satisfying as it is stylish. [Jul 2004, p.95]

His fourth album features no immediate bangers in the vein of "As It Was" or "Watermelon Sugar", but Styles does take some interesting risks. [May 2026, p.37]

There are some cloying twee moments, but the players' telepathic interaction imbues even their slightest songs with crackling immediacy. [Nov 2022, p.36]

This is a tremendously assured album, beautifully paced and full of great rockers. [Apr 2014, p.77]

Not as violent as Hexadic but no less unsettling, this is a strange and fascinating album from an artist who continues to evolve. [Feb 2016, p.80]

They unleash 15 compact, primarily pro forma bangers. [Feb 2024, p.28]

This fourth album is straining toward a more commercial sound, but pop crossover needs hit songs and F&M's best moments are still driven by ace rhythm section Matt Hainsby and Lee Adams. [Feb 2011, p.87]

This is mostly acoustic guitars lovingly plucked, drums delicately brushed, fiddles softly sawn. [Oct 2003, p.113]

A fine collection and a lesson in dignified maturity from which all former rock gods could learn. [Aug 2002, p.115]

NIO seem more intent on gazing at shoes than stars. [Apr 2004, p.92]

A return that is as warmly welcome as it is wholly unexpected. [Oct 2002, p.122]

Constancy is provided by the band's sleek economy and the piercing, implacable vocals of Sian Alice Ahern herself. [Sep 2009, p.92]