It sees them adapt while retaining their street credibility. [Nov 2008, p.117]

For all the perversity, tracks like 'Stumble Out Of Bed' would ignite any dancefloor. [Apr 2009, p.80]

Flowers is occasionally emotional, but really, Kinsella is all about an off-the-cuff approach. [Jul 2009, p.90]

It takes a while to move beyond prettily pleasant, but the band's pining melancholy kicks in on 'What There Is' and 'Real Meaning.' [Sep 2009, p.79]

Tahita Bulmer, once the coy mistress of nu rave, now singing lines like "we wake up in the morning and tyhe glass is empty" in a portentous tone, oddly reminiscent of early-'80s Hazel O'Connor, but no more engaging than her erstwhile deadpan party mode. [Apr 2010, p.95]

Too late for success, maybe, but identity crisis (narrowly) avoided. [Apr 2011, p.84]

It continues where his 2006 solo debut, "My Secret Is My Silence" began, mining the seams of British folk with out descending into chunky-jumpered sentimentality. [May 2011, p.103]

There's little on Heaven And Earth to truly trouble his best work, but throughout there's plentiful evidence of the many qualities which made Martyn so indefinable and influential. [Jun 2011, p.84]

Enjoyable stuff. [Feb 2012, p.81]

She sounds more lusty and confident on this sequel. [Jun 2012, p.83]

No boundaries are broached, but everything works just fine. [Dec 2012, p.69]

It sees them caught between nostalgia and futurism, uncertain which way to move. [Dec 2912, p.71]

The uninitiated will find it a good place to start. [Jan 2013, p.81]

Immaculately crafted as ever, even if his enviable ability to pastiche everyone from Elvis to The Beach Boys ultimately obscures his own musical identity. [Mar 2014, p.75]

Although the The Courteeners are newly mature, they're oddly not yet their own men. [Oct 2014, p.69]

There's a new muscularity to Pete O'Hanlon's basslines, while guitarist Josh McClorey employs a broader range of techniques to stretch the band's sound. [Aug 2015, p.81]

This highly agreeable live set assembles some of the choicest bits, harnessing prog, slinky space-funk and vivacious free-form jamming. [Jan 2016, p.73]

Retro-kosmische pastiche is now firmly established as a lazy good-taste signifier, but it does not excuse mundane plodders such as "Turncoat" or "Motorbath." Thankfully, Soft Error move beyond retro-hipster orthodoxy on their best tracks. [Feb 2017, p.38]

There are shades of Chvrches in the title track, with its soaring choruses and shimmering soundscapes, while "Bigger Than Love" is The xx with a massive soul injection. [Jul 2017, p.35]

Big tunes. Not much heart. [Nov 2017, p.30]

Occasionally, his nostalgia curdles into bombast, but there's a fondness to his reminiscences that contrasts nicely with his famously gruff vocals. [Feb 2018, p.32]

The ramshackle, campfire vibe is endearing, bu this is neither a fully immersive experience like Dead Man or a third LP with POTR. [Jun 2018, p.36]

Despite some pleasant enough tunes, she lacks the vocal charisma to stand out from other wannabe Rihannas, Mileys and Dua Lipas. [Aug 2019, p.29]

As is the case with most of his releases the past decade or so, Ringo addresses his own career with a heavy dose of nostalgia. [Dec 2019, p.32]

“Move”, featuring Thomas, is a thrilling mix of swaggering pop hooks and sweltering Latin grooves and the album’s undoubted highlight. Yet, elsewhere, you can’t help wondering if Santana’s fluid guitar playing really needs “help” from such a ragbag of heavy friends. [Dec 2021, p.33]

He describes the album as a “coming of age” project, and at 59 it’s evident he’s still processing the past. [Oct 2022, p.31]

There's nothing here as good as 'Nosebleed,' the standout from 2007's "Our Earthly Pleasures"--but there are still some good points here. [Jun 2009, p.92]

The likes of "22 Days" and "Devil In Me" exist in a world where only John Lee Hooker and The Stooges have ever made records.