What holds it all together is Henderson's blank, uninflected vocals, though the resulting ambience couldn't be more self-consciously avant-garde if the album came packaged with wrap-around shades and a copy of White Light/White Heat.[Sep 2016, p.106]

Though his band can meander, Harrison has proven himself his own man. [Oct 2-012, p.107]

Captivating. [Oct 2011, p.120]

There is kitsch charm throughout. [Nov 2014, p.112]

As a functional piece of music, it's fitness-for-purpose isn't in question,. But as a stand-alone album, the satisfaction it can offer, perhaps, is. [Dec 2014, p.119]

Yet, for all the dumbing down, they have much going for them. [May 2007, p.122]

Not a novelty record, then, nor entirely old hat. [Jan 2015, p.128]

Get cherry-picking. [Oct 2013, p.116]

Temper Temper, their fourth, adds an aggressive edge to their sound. [Apr 2013, p.96]

A few too many of these songs follow an all-too-familiar formula -- slow-burning introduction building to a crashing finale -- but on Still Tonight, Lately and last year's single Til The End, the bluster melts away to reveal Haven's passionately beating heart.

An enchanting snippet of life in the left-field. [May 2012, p.106]

The results are spooky, poignant and impressively unique. [Apr 2010, p.111]

Their first album since 2009's Broken, gains strength from being all Gahan, all the time. [Jun 2012, p.111]

The core subject matter remains Gedge's mordantly fatalistic view of love but the ambitious nature of the project seems to have put a spring back in his step. [Oct 2016, p.113]

Despite a few missteps her and there, it's good to have them back. [Oct 2015, p.109]

A promising start, but there's room for improvement. [Oct 2018, p.108]

Rough, scuzzy and rasping, there's plenty within its tattered edges to enjoy. [Oct 2014, p.120]

Perhaps not something you'd put on to get the party started, Yung Lean has though nailed the comedown. [Jan 2018, p.114]

For the most part, it works. [Nov 2012, p.108]

Brown's pleasant if largely unremarkable voice rid[es] a set of lean and sultry funk grooves. [Nov 2006, p.149]

Stewart keeps that see-sawing balance alive here. [Jan 2015, p.128]

Dirty Projectors' David Longstreth deserves praise for the way he's reinterpreted "Damaged." [Dec 2007, p.116]

A 1991-2001 covers record is an odd move after just two solo albums, but he carries it off with unusual choices and twinkling instrumentation. [June 2008, p.137]

Admittedly, the mostly spoken Musical Theatre is indulgent twaddle and she often squawks where others sing, but there's Hole-like grit to both Life In Oink and the raised middle finger of Hate You, where cascading choruses butt against stroppy verses. [Jun 2018, p.113]

It's beguilingly slapdash, but its brevity - seven songs in 23 minutes - nonetheless makes this a frustrating listen. [April 2012, p.98]

Take Me Over makes a misplaced attempt at funk, which grates slightly, but it's hard to dislike the well tuned synths and dreamy choruses of tracks such as Hanging Onto Every Heartbeat. [Apr 2011, p.101]

Fascinating thumbnails of the blissful, abstract funk which was to come. [May 2012, p.115]

It's not as electric as some performances, but it's no wondder he had a heart attack soon after and retired...for now. [Apr 2010, p.126]