It is pure nostalgia, and some of these songs are familiar to the point of tedium, but even a Beatles sceptic would find it hard to suppress a shudder of recognition on hearing these tunes sung by the man who wrote them.

It is the weirder, wilder, experimental material that makes this a significant new career benchmark for the German duo, their boldest and possibly best album so far. [May 2018, p.32]

Champ sees TPC breathing deeper and taking a wider view. [Aug 2010, p.102]

There’s plenty for prog loyalists to appreciate in the knotty polyrhythms, hopscotching bass and divebombing guitar excursions of tracks such as “Harridan” and “Chimera’s Wreck”, but genre agnostics may find more inviting access points in the sumptuous stripes of rueful melody, nuggety riffs and widescreen pomp-rock dynamics that Wilson and friends create. [Jul 2022, p.31]

Sure, at times, they sound like Gene, but on tracks like "Do You Really Wanna Know" they are nigh-on perfect: Jangly and breathless, with traces of The Smiths but a softer edge. [Apr 2011, p.89]

His 2021 solo debut Times topped the UK dance chart and, the follow-up offers more of the same adrenaline rush. [Feb 2023, p.32]

This debut album sounds as charmingly casual as its inception. [May 2012, p.80]

Opener "Satellite 15" might hint at something dark and abrasive, but they're soon back on track, rattling through robust, enjoyable nonsense like the multi-part epic "When The Wild Wind Blows." [Nov 2010, p.93]

The nicest moments come when his simple structures are allowed to do their thing. [Jul 2013, p.75]

Time contains KG structurally, but not creatively. "The Land Before Timeland" is a lyrical workout of delicate intricacy. ... "Hypertension" is every bit as light on its feet and the conversational playing between the Gizzards is equally impressive, but it takes more of a pastoral-prog path. [Dec 2022, p.18]

On the last Foos album, "In Your Honour" rock and acoustic music were exiled to different discs. Here, a satisfactory compromise is brokered between the two: the excellent 'Summer's End' is easy on the ear, easier still on the brain, and sets him up in the radio-friendly 'Wonderwall' district one imagines is his spiritual home.

The contrast between Adele Bethel's sassy snap and Scott Paterson's rousing holler is expertly deployed, resulting in a stirring record, packed full of ideas, from a band who seem to have rediscovered their spirit of adventure. [Jul 2011, p.94]

His best work transcends politics. Mr Love & Justice contains both he best and worst of Bragg.

Will Ozanne comes across as a milder version of James Blake. [Mar 2012, p.84]

Rockferry is almost a very good album, but, for all the classic hallmarks, there's little insight into the soul of Duffy herself. [Apr 2008, p.84]

Ambitious, orchestral and accompanied by a 45-minute film, it candidly documents singer Charlie Fink’s recovery from a badly broken heart.

On Heritage, [they're] jettisoning practically all trace of heavy whatsoever. [Oct 2011, p.86

End Times is not merely Eels' best album yet, but in the highest rank of breakup albums, something with the anguished fury of Ryan Adam's "Heartbreaker," sighing with the stoic resignation of Bruce Springsteen's "Tunnel Of Love." [Feb 2010, p.83]

Splendid. ... All the crafty hooks, Haim-worthy vocal harmonies, sumptuous layers of synths and unabashedly prefab beats belie the poignant nature of Girl Ray's odes to post-millennial love and longing. [Dec 2019, p.26]

Some nice wordplay and a sultry cameo from Asia Argento ensure that Praxis Makes Perfect is fun, if musically flimsy. [May 2013, p.75]

This blend of Sabbath-inspired riffing, windswept chug and songs called things like 'Fire Lances of the Ancient Hyperzephyrians' has a neat shtick, no particularly awkward edges, and a vague sense of nostalgia for an adolescence maybe you never lived the first time out. [May 2008, p.107]

Their third album sees them toughening up some, with much of their whimsical dreaminess tramped underfoot in their seeming desire to become a more conventional, NME-friendly, rock band. [Feb 2006, p.81]

Forth certainly makes it seem like they’ve never been away, the stench of those woeful Ashcroft solo albums extinguished.

An album that, on first listen, glides by doing nothing wrong. Second time around, you realise that, more accurately, it's doing everything right, and you're spellbound. [Jun 2003, p.92]

Spookily smooth. [Dec 2003, p.122]

Tracks such as "Where Ya Going?" and "Chicken Out"... make them sound like Southport's answer to ZZ Top. But there's plenty more going on that doesn't involve such dumbing-down. [Jul 2004, p.107]

A strong and lusty country-punk album placing him in Tom Waits or Neil Young territory. [Nov 2004, p.104]

The beauty of those opening moments suggests that Condon's future really does lie in soundtracks, where you can imagine him collaborating with and finding inspiration in the baroque visual inventions of an Anderson or a Gondry, and where his restless musical wandererings might yet chance upon the truly undiscovered countries of the imagination.