Musically it's toytown folk, like Jonathan Richman with out the complicated buts, but Green's narrative lyrics grow increasingly weird and witty, recalling early '70s Lou Reed. [Feb 2010, p.86]

Nothing here matches the astonishing brutalist bubblegum of her 2018 debut, but on tracks like the soaring “Love Me Off Earth” you can still feel the unearthly radiance of this vanished star. [Dec 2024, p.39]

All in all, an interesting exercise, far less arch and shamateurish than Kisses On The Bottom. [Nov 2012, p.74]

Kelis' versatility... may mean she'll never hit like Beyonce, but she's still many producers' most stylish leading lady. [Nov 2006, p.117]

Inspired by the memory of departed friends, it sits midway between Cave's grand guignol, and the sweet hurt of Robert Forster. [Jun 2011, p.85]

Their rather timid approximation of prog lacks the charisma or gravitas required to persuade listeners that theirs is a cosmic expedition worth joining. [Sep 2008, p.100]

This is urban-global rather than world music. [Mar 2012, p.92]

As frustratingly close to perfect as ever. [May 2014, p.73]

Tremendous stuff. [Mar 2014, p.83]

Feldwick is clearly a livewire talent adept at mashing up everything from vintage Sega sample to the arthouse end of dubstep. [Jul 2012, p.83]

"Earth 1" demonstrates the band's ability to pursue any number of loopy tangents without losing the woozy charm that comes more strongly to the fore in the dreamier "Heaven 7". [Apr 2025, p.39]

A set that touches on the laser-guided minimalism of his early work but mainly finds him knocking out shaggy bar-room psych and strung-out doo-wop. [Oct 2014, p.67]

This is a meaty-sounding affair. [Dec 2017, p.30]

Sadier's intonation can be awkward, but her compassionate yet detached voice remains as affecting as ever. [Nov 2010, p.97]

There's a touch of mum-at-the-disco about the dancier numbers, but the sweet acoustica of "Some Kind Of love" and the wispy electronica of the title track still underpin earwormy hooks that won't be denied. [Apr 2019, p.28]

Their third LP reveal a sweary rock toughness that suits them (surprisingly) well. [Nov 2008, p.120]

There's a softness and elegance to Trickfinger. [Jun 2015, p.83]

If his 20th solo album, The Man Upstairs, is less excitable than the likes of Underwater Moonlight, Fegmania! and Queen Elvis, it's a change that many Hitchcock agnostics will welcome. [Sep 2014, p.68]

A decidedly sassier affair. [Jun 2006, p.110]

She's a brilliant reinterpreter and sounds far happier in Raitt territory than she ever did as a Morissette clone. [Feb 2003, p.84]

Their mischievousness is still palpable, but it's shot through with purpose, gumption and spectacular riff-raunch action. [Sep 2002, p.114]

Self-consciously odd, but entertaining. [Sep 2001, p.98]

Glossy and glamorous, maybe, but it feels like a beautiful-designed dead end. [Oct 2018, p.37]

If TDD's Cure obsession at times gets the better of them, their buoyancy and drive will still fill floors. [Apr 2011, p.95]

Faithful to the source material and occasionally inspired. [Apr 2016, p.81]

The seariung guitars, walloping drums and emphatic double-tracked vocals have determined power and character. [Mar 2010, p.81]

For much of the album, there's a poppy ebullience reminiscent of the MTV-friendly '80s Elton. [Mar 2016, p.70]

The fifth and final Streets albums suffers as a result of his self-imposed exile from the hubbub he once chronicled with such verve. [Mar 2011, p.101]