Singer Ann's third solo LP is her most Heart-like, cruising between drivetime and blues-rock. [Jun 2022, p.89]

Existing fans are well served. [Jun 2007, p.112]

The album is a masterclass in elegiac navel gazing. [Oct 2010, p.90]

Relentless vocal shards create the sensation of being stabbed in the head with a whalebone comb, but when voices and concept coalesce... you begin to see the point. [Dec. 2011 p. 98]

The first half of their fifth studio album racing by, a blur of nimble fingers and frills. The second half, a 19-minute exploration of Pink Floyd's Echoes, will divide audiences along prog and classical lines. [May 2019, p.91]

[Brian Chippendale] returns for more overcharged neon-Morricone industrial pop onslaughts, drums and vocals hooked up to his evil super-oscillator. [Apr 2013, p.89]

While brutally impressive, if it's subtlety you're seeking, look elsewhere. [Mar 2011, p.100]

Although influences aren't hidden ... it's [Pundt's] own voice here. [May 2012, p.82]

Classic OMD tropes are almost overdone on this, their 13th studio album. [Oct 2017, p.88]

With a playing time of just 29 minutes, this feels more like a holding exercise than a fully-fledged long-playing statement. [Oct 2015, p.88]

The 10 tracks rise and fall through burbling electronics and explorative jazz. [Apr 2021, p.88]

Gainsbourg's reedy vocals ... just don't stand up to the rigours of live documentation. [Dec. 2011 p. 98]

Their first album in seven years is a guns-blazing reinforcement of classic tropes, powered by young 'un Daxx. [May 2016, p.88]

The Peth prove they're no mere cracked actors. [Oct 2008, p.110]

Maryland pop-punks are shamelessly commercial and ruthlessly effective. [Dec. 2010, p. 96]

When they strip down everything down for the closing pair Fear and the onomatopoeic Organ Blues, the nape hairs rise even higher. [Mar 2011, p.100]

The melancholy feels more goth than hippy and, ultimately, both the sounds and lyrics feel unresolved. [Apr 2024, p.90]

Although the assured songs are beautifully framed by sparkling arrangements, To Each His Own suggests--as BNQT had too--Pulido is sidelining what might be more rewarding for listeners: getting on with Midlake to help realise his musical vision in a less obvious manner. [Apr 2019, p.91]

The tune count is mainly healthy, with the super-exuberance of Is This A Breakdown, Grapes Upon The Vine's echoes of 1983's Porcupine, and a second-half pursuit of the epic culminating in the soaring, redemptive New Horizons. [Jun 2014, p.88]

Spontaneity suits him; weaving jangly groove-grit with melody and just the odd overly-earnest lyric. [Sep 2019, p.96]

By turns whimsical, self-deprecating and humorous. [Oct 2015, p.93]

It's a little hard to take in one sitting, though downcast fans of Saint Etienne and The Magnetic Fields will find much to adore. [Sep 2005, p.92]

It ain't light listening but its emotions run deep. [Sep 2014, p.95]

While the peppier River Of Longing and Palace Of Love are rousing, it's when the brakes are applied that Illegals in Heaven leaves a durable residue. [Nov 2015, p.90]

A beguiling sigh in itself. [Aug 2023, p.81]

With a voice now dry and shaky, Friedman nonetheless revels in his novelist knack for tall tales. [Dec 2015, p.86]

It doesn't all work. ... But the doo wop-in-space Hope Hell High, the football chant-as-polemic punk rock of Motherfuckers Got To Go and the widescreen desert balladry of Love Is A Mind Control prove the Deap Vally girls should experiment like this more often. [Apr 2020, p.91]

It's all tenderly delivered and definatly indie--both sonically and spiritually. [Oct 2008, p.113]