A super-sophisticated set of soul-jazz covers of songs. [May 2023, p.38]

It leaps between the glitch-hop of “Bezerk” to the android hymn “Don’t Go”; from the thumpy funk of “In My Head” to the pulsating UK garage of “Something”. It also employs some audacious samples, like the drumless samba that backs “Walk In The Park”, or the Cuban rumba groove under the vaporous soul of “Mood To Make Love”. But it’s unified by Lowe’s soft, supple voice and a quiet air of hope, warmth and radiance. [Nov 2024, p.40]

At the peak moments of High Violet, The National are magnificent. [Jun 2010, p.78]

She crafts tightly coiled rock epics with just a few elements, sounding like The Strokes one minute, Liz Phair the next. [Apr 2019, p.39]

As ever, Simon's work is a strange mix of easy and uneasy listening--it's balm, but it leaves an itch. [May 2011, p.74]

This collection is ample testament to one of the last great English avant-pop careers. [Mar 2012, p.84]

Hawley resurrects ghosts of music past and breathes new, poignant life into their forms. [Oct 2005, p.110]

It is without question a wintering record, but out of this muted musical landscape songs of great and complex beauty emerge. [Mar 2021, p.34]

Their most powerful work this century. It's the sound of a band entering a final act with a renewed sense of purpose, and sharp, sober new focus. [May 2023, p.26]

Lookaftering is some kind of miracle. [Nov 2005, p.100]

There are dark undertones--drug references mainly--but Lewis is no moper. [Apr 2019, p.32]

Sol. Hz feels skeltal, with saffron threads of treated guitar slicing through piston-pulse rhythms and reverberant bass. [Jun 2026, p.34]

Understated double set, the material meandering gently, but persuasive in the way its interlocking parts both ride the groove and smear lush textures across these four side-long live cuts. [Jan 2023, p.23]

Impressively, it achieves the feat of enghancing Pink's legend with out puncturing his mystique. [Jul 2010, p.105]

Blur have released three compilation albums, but none of them point up the band's engagingly contrary creativity and elastic pop nous quite like these two discs.

If the songwriting at times falls into cliche, the performances--passionate, eloquent, spilling over with regal harmonies--are anything but. [Jul 2015, p.72]

Thomas lurches from surrealist poetry to impressionistic short stories, like a hybrid of Captain Beefheart and Ernest Hemingway. [Jul 2019, p.33]

Leans heavily on the conceptual, but its 13 tracks can be enjoyed regardless of any familiarity with themes of Greek legends and seasonal cycles. [Dec 2020, p.30]

Smart stylistic detours mask something a little deeper. [Oct 2021, p.24]

12-song collection brings together four elders, three younger practitioners and original James Gang singer-guitarist Glenn Schwartz, along with The Black Keys in Deep-blues mode. [Sep 2023, p.37]

The duo show renewed confidence as they strike a balance between pristine electro=pop songcraft and the loopier inclinations that once fuelled Dazzle Ships. [Review of the Year 2023, p.30]

You could mount an argument that these are the definitive performances, although that probably isn’t the point – the idea is to view these time-honoured tunes from a surprising new vantage point. Whatever, you leave Mulatu Plays Mulatu in reverence. Astatke’s status – as gifted musician, visionary bandleader and eternal innovator – is forever assured. [Nov 2025, p.34]

A typically perverse decision to substitute a US remix for the standard version of album closer "Tomorrow" does little to deaden the impact of an album that owned its moment every bit as much as The Queen Is Dead. [Mar 2014, p.94]

A beautiful record. [Nov 2003, p.122]

Doves have delivered, with honesty and affection. All other guitar bands this year will seem like a scratchy sideshow. [Jun 2002, p.110]

Fever To Tell is, quite simply, magnificent.... This is as revitalising a debut as could be hoped for. [May 2003, p.92]

This is a very odd album. [Apr 2003, p.103]

Album opener "Garbage Dream House" is a scene-setter - somehow both ominous and joyful with its grinding, melodic riff, robotic bleeps and orchestral outro. [Sep 2025, p.37]