The sheer volume of ideas bustles everything along. [Mar 2012, p.113]

The world isn't short of observational singer-songwriters, but when the work is of this calibre it's pretty hard to resist. [Aug 2020, p.107]

If Fake Sugar lands, the mainstream's in for a sweet treat. [Aug 2017, p.103]

Little Sparrow mixes its trad tendencies with tunes, lovely instruments, and best of all, Parton's personality.

A clever marriage of weighty words and sonic delight. [Summer 2019, p.115]

Complex listening that never gets too wrapped up in its own ideas, Braids here discover a perfect balance. [Jun 2015, p.102]

Mostly brilliant and, most surprising of all, never pretentious. [Oct 2003, p.102]

The Wisconsin outsider stretches horizons on mesmeric second album. [July 2011, p. 108]

Finds Gough at his most stylistically promiscuous to date. [Nov 2002, p.102]

It's a record that demands you get to know it inside out. [Jul 2014, p.101]

Eve is a hip-hop delight. [Nov 2019, p.115]

As giant a leap on from the lo-fi oddness of 2009's Gather, Form & Fly as it was possible to make. [Oct 2011, p.124]

Alone In The Universe is warm-hearted, consummate, just about perfect. [Dec 2015, p.110]

Too Bright finds him more sparky and more mettled. [Nov 2014, p.116]

This is great music for driving. In a hovercraft. With someone chasing you. [Dec 2015, p.111]

To no-frills, English Velvet Underground-style indie pop, this seasoned, perceptive narrator also turns his gaze on dilemmas including the plight of the still-game senior rocker (Mr. Music), bewildering transience (There It Goes) and, seemingly, divorce (Good Enough), lightly wearing life experience without sacrificing impact. [Feb 2016, p.107]

Each of these tracks makes the case for Foo Fighters' horizons successfully expanding, in the way the acoustic side of "In Your Honor" didn't. [Oct 2007, p.87]

A charming little diversion from the cares of the modern world. [Dec. 2011 p. 135]

[Producer Andrew Weatherall] helped bring out a kind of claustrophobic, harmonic distortion. [Mar 2012, p.113]

Ultimately, there's something delicious and monumental about Hurts.[Apr 2013, p.106]

A high-risk strategy, then, but one that largely succeeds thanks to Fink's languid delivery. [Apr 2011, p.103]

Perhaps Codes And Keys's seemingly illogical sequencing of songs makes sense if they wish to lure their audience into thinking it's as-you-were. But it's not: things are different and better. [July 2011, p. 110]

What at first, certainly compared to its startling predecessor, feels like a retreat from modern music’s radical frontline (nasty jazz, electronica, noise) gradually unfolds to offer equally interesting new ways of hearing.

As the final stitch in their sprawling psychedelic tapestry ... Universe is a perfectly haphazard send-off. [Jun 2012, p.111]

A thing of meditative beauty. [Nov 2019, p.115]

Weighty stuff, but tungsten-strength tunes, a lush orchestral feel and Friday's laconic delivery make for a winning combination. [Jun 2011, p.114]

Ou Va Le Monde is twanging Tarantino-bait, Tatiana is a thumping, technophile take on The Velvet Underground, Le Chemin is gloriously woozy and Exorciseur is Gainsbourg-esque. But they're all eclipsed by the closing Vagues, a 13-minute psychodyssey. [Nov 2016, p.108]

Here's a band on top of the world, and on top of their game. [Oct 2012, p.98]