Heavy Blanket should weed out the part-timers. [Aug 2012, p.73]

He delivers 14 sweetly sombre neo-folk tunes that reveal just how subtly pervasive the man's influence really is. [Mar 2005, p.108]

If nothing here is quite touched by the hand of God, then maybe it's all the more engagingly human. [Apr 2005, p.104]

Everything here roars. [May 2006, p.108]

Ultimately, the record is a tribute to McClure's charisma and unswerving self-belief.

The stroke of genius was to persuade dreamer-for-hire Kelley Polar, Richard Davis and Paul Conboy to sing on this sparkling LP, resulting in a masterclass in soft synthetic soul. [Apr 2010, p.83]

The mood is melancholy, the voice crystal clear, the folk-based songs deadly direct. [Feb 2014, p.78]

The song themselves are thoughtful, ambling between folk, country and mid-paced roots-rock. [Aug 2009, p.100]

Oddly absorbing and surprisingly cohesive. [Apr 2003, p.120]

The greatest album ZTT never released. [Oct 2003, p.134]

[The single "If You Didn't See Me (Then You Weren't On The Dancefloor)"] is sumptuous, sad and beautiful, as is the res of the album. [Jan 2014, p.73]

Unvarnished and unpredictable, then, but in the grand Slits/Raincoats tradition, Nash is no-one's little girl. [Apr 2013, p.74]

Cleverer and more talented people--say Clive James and Pete Atkin--have tried to make such collaborations work, and failed. Folds and Hornby join the line, a faint whiff of misogyny trailing behind them. [Oct 2010, p.97]

Potter's expressive voice leads the charge, but wouldn't make half as much impact without the tight and nuanced Nocturnals punctuating each quiver and wail. [Oct 2010, p.101]

There are reasons to cheer aside from survival--cultish single "Open Fire," "Mighty Wings" and the Rush-like title track. [Jul 2015, p.73]

Often stunning, but arguably also a little too knowing and shallow. [Aug 2008, p.108]

In general, the album's too bare, reserved and repetitive to be easily loved by many. But it is brave, from a man still in motion. [Oct 2005, p.104]

With Nashville stalwart Tony Brown co-producing, she flexes both empathy and interpretive might. [Jun 2016, p.75]

The tunes are stunning, her voice has never sounded better and she makes serious points few others would dare in a pop context. [Oct 2003, p.114]

Uplifting but ultimately lightweight. [Dec 2002, p.132]

Continues their quest to reunite as many of the myriad splinters of pop music on each track as possible. [Sep 2001, p.87]

Drift captures frontman Mark perro in an unusually subdued mood. ... Drift risks seeming incoherent; no-one can say The Men ever fail to surprise, though. [Apr 2018, p.30]

Too many songs sport frumpier styles. [Nov 2018, p.34]

There's a commitment here to melody as much as left-field wrapping. [Nov 2004, p.105]

All round, it's a remarkable electronic musicanship. [Apr 2010, p.124]

The group's ambition is admirable, but they come unstuck on the over-egged samba shuffle of "Lost Winter," while even Florence Welch might consider "Mellotron" to be a bit much. [Mar 2013, p.76]

Behind the abundance of route one hooks and rather beige, Gary Barlow-esque vocals, however, there's evidence of emotional heft in the lyrics. [Aug 2014, p.70]

Jarre's own pastel-shaded musical signature sometimes gets lost in the crowd. [Nov 2015, p.77]