A collection of jangly guitar pop that struggles to locate a niche within their favoured genre. [Mar 2019, p.116]

It sounds like a bunch of stoned musicians listening back to half-finished tracks, believing them to be mind-blowingly revolutionary. [Mar 2019, p.115]

His music could still use an injection of personality. [Oct 2018, p.119]

No new ground is broken here, but Tallies map their well-worn journey with a sure sense of direction, songwriting skills cutting through the dreamy fog. [Feb 2019, p.116]

Not a bad record, just one that needs to get out more. [Feb 2019, p.116]

It's claustrophobic at best, and, after a while, a little tiring. [Feb 2019, p.108]

Her solo incarnation is finer-framed, a collection of country-dusted ballads and Laurel canyon laments run through a Kurt Vile filter. [Feb 2019, p.115]

This is a refreshingly dark take on a tired format. [Feb 2019, p.112]

It works best when these elements are brought to the fore--the shadowy-voyage-into-the-unknown atmosphere of opener Rising or Rain's floating, dream-like synths--creating an eerie, retro-futurist soundworld to get lost in. [Feb 2019, p.112]

Overall it's too stodgy to soar. [Feb 2019, p.108]

Ora shines brightest on the album's calmer moments. [Jan 2019, p.113]

The hypnotic techno loop of Dicker's Dream provides forward momentum, though it's the more contemplative moments, from No Reflection's sparkle to Moon In Water's limpid ambience, which shine brightest. [Jan 2019, p.113]

A minor work from a mighty band. [Jan 2019, p.110]

It's an album that shows the breadth of Harcourt's talent, certainly, but you can't help but miss the warm burr of his voice. [Jan 2019, p.109]

It's not completely without merit--Brave New World has a certain swagger--nut this does stray bafflingly close to tribute band territory. [Jan 2019, p.114]

It might not herald a return to the glory days but it does mean his recent creative slump has been definitively arrested. [Jan 2019, p.114]

Powerhouse is a string statement: galvanised, streamlined, charged emotionally until sparks fly. [Jan 2019, p.113]

A confident step on from 2015's Contradictions. [Jan 2019, p.113]

Niggling familiarity is a recurring issue here. [Jan 2019, p.111]

Cantaloupe Island, for instance, hit the target, even if it's no match for the Herbie Hancock original. But with more cabaret material such as Me And My Shadow's louche duet with Sarah Silverman, you really wish you'd been there first time around. [Jan 2019, p.109]

Delta reveals layers few would have thought they had. Often though, these moments of interest get flattened by a wave of arena-ready bombast. [Jan 2019, p.108]

You get the feeling even the band think the joke's wearing a bit thin. [Jan 2019, p.106]

It's a quietly bewitching LP, storied and subtle and sweet. [Dec 2018, p.107]

It can ramble, but their landscape is so compelling, the scenic route is no punishment. [Dec 2018, p.108]

No great leap forward, then, just a solidly impressive album. [Dec 2018, p.111]

He can take his more laid-back approach too far, however, sounding as if he might be about to nod off during Web So Dense, Yet the moments of genuine loveliness more than compensate for the occasional bouts of narcolepsy. [Dec 2018, p.111]

Forever isn't a huge creative leap forward, but at its best--particularly on dancefloor-friendly laments such as Beautiful Wreck--there are moments that hint at brilliance. [Nov 2018, p.109]

Much of what follows sounds like he's set his overdriven synths to autopilot with vocalists Keith Flint and Maxim Reality reduced to the odd irate interjection. [Dec 2018, p.113]