It's a punishing listen. ... But this is not a record for the faint-hearted. [Nov 2019, p.111]

A mostly stylish mix of indie nous and Hollywood glitz. [Nov 2014, p.120]

Where David sometimes fall short is on lyrical content. ... Such disposable fluff aside, David's triumphant return is otherwise still going strong here. [Mar 2018, p.107]

There's preciousness here, but so what? Craftmen out to care. [Sep 2011, p.114]

The Voyeurs' determination to peer through the capital's sleazier keyholes should be applauded. [Jan 2015, p.132]

A giddy blend of nostalgia and invention that'll do just fine for starters. [Dec. 2011 p. 136]

On ONIFC he tilts the balance back--slightly. [Mar 2013, p.111]

A functional quality is leavened by guest voices. [Feb 2012, p.104]

Their second studio album does have a strange charm, in short doses. [Jun 2016, p.108]

Black Bubblegum has a more amiable feel, assembling DIY jams inspired by Afrobeat and reggae, not to mention the fringes of Animal Collective's back Catalogue and Texan outlier Sun Araw. [Aug 2016, p.110]

The debt to electronic pioneer Jean Michel Jarre's Oxygene is obvious, but it's a compliment to say this is guaranteed to send you to sleep. [Jun 2014, p.104]

Those lying closest to their own unsubtle ouevre, ie the Minor Threat and Cypress Hill tracks, are as crunching as die-hards could hope for. But the arch sneer of The Rolling Stones' Street Fighting Man and Bob Dylan's Maggie's Farm are predictably reduced to chalkboard lessons in "angry".

Nice, but probably inessential. [Nov 2019, p.111]

[Many of] these clean-sounding, jazz-rock rearrangements of songs from 1928 to 1963 prove successful experiments. [Aug 2012, p.100]

Condon proves that less can be more. [Oct 2015, p.102]

They should always say yes to excess. [Oct 2012, p.107]

An album that delivers plenty of thrills, even if the spills are now to be found elsewhere. [Oct 2014, p.104]

Step Back is better when Winter plays it straight. [Nov 2014, p.120]

Each song still has the inevitable moment of electronic ascent but, as with Coldplay's Recent break-up record, you can';t help but wonder how these songs might've sounded left raw and unslickened. [Jan 2015, p.133]

Rogers's 63-year-old voice sounds uncannily well preserved. [Feb 2014, p.119]

Tart modern pop performed with a sly sense of homour. [Mar 2009, p.105]

FILA is not his monumental debut, Only Built 4 Cuban Linx, but it maintains the revival in form that began with its 2009 sequel. [Jun 2015, p.111]

The [same] sort of Clash-meets-Green Day agit-protest skate-punk Anti-Flag have been making since 1996. [May 2012, p.90]

The Big To-Do is the familiar mix of big guitars and off-kilter storytelling. [Apr 2010, p.120]

It's mix of precision and passion reminds of Muse's debut. [Jun 2013, p.91]

This return proves surprisingly approachable, especially on the four tracks written with French songwriter and producer Woodkid. [Oct 2016, p.105]

It's quirky without being kitsch, and another fine addition to Smith's varied back catalog. [Aug 2013, p.105]

Stark, speedy, ferocious---all their established calling card are here. [Oct 2015, p.114]