Although the album was written and recorded at a time of severe international strife, Taylor maintains an aura of studied and reassuring calm on “It Will If We Let It”, “Glory Strums” and outstanding closer “Sanctuary”. [Jul 2021, p.27]

Constantly questing without ever becoming indulgent, 4 is intoxicating. [Nov 2008, p.94]

The seemingly simple yet thoroughly conceptualised material here, all held within specific harmonic language, is beautifully realised. [Oct 2022, p.26]

He pulls it off in style. [Apr 2009, p.91]

Though disparate, it's some legacy. [May 2016, p.90]

What these titles lack in detail, the songs themselves quickly fill with lashings of lurid prose. [Jul 2017, p.18]

This is a strong debut throughout. [Aug 2020, p.27]

This follow-up is even better [than 2015's Music In Exile], their skittery rhythms making fuller use of R&B grooves, brass and funky licks. [Jul 2017, p.39]

The group's most unabashedly pop-forward and irresistibly buoyant effort since 1996's Dizzy Heights. [Nov 2022, p.32]

This is the rare jazz record that feels equipped to venture outside the genre's familiar borders and engage with the wider world. [Jul 2018, p.29]

As they've refined their technique, they've almost erased the need for lyrics, while their twin obsessions--romance and the celestial--remain constants. [Jul 2016, p.89]

Snipe Hunter is Childers' familiar reconciliation of the raucous and thoughtful, and possible his most accomplished to date. [Oct 2025, p.24]

While Like Clockwork sometimes felt a little leaden, Villains flies by. [Sep 2017, p.31]

[A] stunningly assured fifth studio album. [Aug 2014, p.80]

The venom and rage of the Jim Jones live experience is captured more effectively on this third album than its predecessors, but there;s also greater depth to the playing and writing. [Nov 2012, p.76]

Stuffed full of prospective hits, Wretch's desire to rank beside Kanye and Jay-Z may not be that far fetched. [Sep 2011]

Their first LP is an imaginative amalgam of electronic pop, avant noise, psych-folk, freeform jazz and kosmische on a panoramic scale, which both delights and surprises. [Oct 2024, p.37]

Picks up where 2015's Justin Vernon-helmed If I Was Left Off, as their three-part blood harmonies form the shimmering centre of an elaborate, album-long soundscape. [Mar 2021, p.37]

Spektor's biggest-hearted, clearest-minded effort yet--achieved, thankfully, without sacrificing any of her wonderful weirdness. [Aug 2006, p.111]

For those willing to take a chance, it's an impeccably realised, verbose treat. [Apr 2007, p.99]

Thankfully, Williams' effort to emulate that bygone sound is too sophisticated and idiosyncratic to be mere pastiche. [Mar 2018, p.35]

The idiosyncratic chamber-pop o these 14 songs evokes The Kinks, XTC and the more melancholy side of Hot Chip; like much of their past work, it's musically intricate, too. [Mar 2016, p.73]

It's all invigorating, wonderful stuff.

Depth Of Field, Blasko's sixth studio album, substantially persists with the gloomy synthesiser motif of its superb predecessor, 2015's Eternal Return, but locates an even more poised balance between the chilly melancholy of glam-electronica backdrops and the capacious warmth of Blasko's vocals. [Apr 2018, p.24]

United Crushers establishes a more muscular sensibility for the American quartet. [Apr 2016, p.78]

The LP's seven originals are solid, but the five country covers hit with sweaty immediacy. [Feb 2014, p.95]

When The Roses Come Again feels like something impossibly ancient, sent back to us from some distant future. [Dec 2023, p.32]

Guthrie's work endures because if its essential big-hearted hospitality--and Farrar, Johnson, Parker and Yames have mad themselves right at home. [Mar 2012, p.93]