When Green is good here, he is very good, and the mis-steps are minor niggles.[Dec. 2011 p. 132]

Rather than sounding like musical magpies, The Fratellis are always their own men. [July 2008, p.100]

Elson's theatrical but appealing voice adds genuine drama to the darkly brooding Stolen Roses, while the title track is a handsome murder ballad. [Jul 2010, p.133]

The fifth outing as Immersion finds the couple at their most sumptuous. [Summer 2018, p.110]

Their prog-packaged second LP, split between six duo tracks and nine augmented by stellar sax, trumpet, harp, tabla and drums maestri, will indeed unite you with the cosmos but you can't help moving to the groove too. [Sep 2017, p.106]

There's a lightness of touch from Turner and his band (and producer Catherine Marks) that makes No Man's Land a welcome diversion. [Sep 2019, p.116]

Thankfully... this reissue comes with a bonus instrumental disc, allowing the orchestral menace to speak for itself. [Oct 2003, p.127]

These records might not eclipse Channel Orange, but they have their own mercurial gleam, mapping the spaces between people, reaching for a hazy intimacy that almost feels real. [Nov 2016, p.112]

A set of songs so cockle-warmingly familiar that you're left scanning the credits to see who did them the first time. [Oct 2002, p.118]

The vocalist work fine but instrumentals like Tempest and Velcro demonstrate that Rustie's personality is plenty big enough on its own. [Oct 2014, p.118]

Two Vines is a leap forward for pop's most enchanting odd couple. [Dec 2016, p.102]

The real surprises come when they sound relaxed, even delicate. [Oct 2012, p.92]

Perfectamundo explodes into glorious Technicolor. [Dec 2015, p.107]

Top-tier comp. ... A near-perfect musical expression of escape. [Apr 2020, p.118]

Fallen Empires is typically and unashamedly arena-friendly bombast ... leavened by leader Gary Lightbody's often appealing insecurity.[Dec. 2011 p. 134]

This definitive 77-track anthology favours the early years, illustrating how quickly Stone and his multiracial crew evolved from a decent R&B outfit into a trailblazing psychedelic-soul gang show, [Oct 2013, p.117]

This is a beautiful album that counterpoints Banhart's boundless and surreal imagination against a newly-discovered depth and sincerity. [Apr 2013, p.105]

It's a record which ultimately leaves you cleansed. [May 2015, p.108]

Why Make Sense? is a meaty electro-grooving celebration of love, hope, dancing. [Jun 2015, p.101]

Impressive and increasingly accessible, this is the sound of a major talent developing. [Jun 2015, p.104]

The Fall contains more than a few copper-bottomed classics: the languid and steamy I Wouldn't Need You, the Ryan Adams co-write Light As A Feather, and Chasing Pirates, a near-perfect two-and-half minute study of the racing thoughts that get in the way of sleep. [Dec 2009, p. 114]

At 38, Rufus's star moment appears to have finally arrived. [May 2012, p.108]

Bibio's Warp debut, Ambivalence Avenue, is one of the stealth albums of 2009, its pastoral psychedelia reminiscent of Super Furry Animals idly punting with Boards of Canada. [Jan 10, p. 118]

All compensate in quality for what they lack in originality. [Aug 2014, p.107]

These records might not eclipse Channel Orange, but they have their own mercurial gleam, mapping the spaces between people, reaching for a hazy intimacy that almost feels real. [Nov 2016, p.112]

Put the whole bag of tricks together and Pulled Apart By Horses have captured their own genie. [Oct 2014, p.118]

The wild rhythms, unusual arrangements and often manic energy of the selections here still resonate. [Jan 2006, p.139]

Peaking Lights have sacrificed some of their uniqueness for added lovability. But their hypno-pop still sways to a rhythm entirely of its own. [Nov 2014, p.116]