Canadian duo's smooth blend of yacht rock, disco, Rick James funk and late-90s French house with lyrics that aim to pastiche modern R&B tropes. [Jun 2014, p.98]

Nothing here will change your life, but rest assured that there's also little in the way of filler. (Oct 2000, p.104)

While there are moments that grate, this is an assured first outing that suggests that Brad and his band are worth keeping a keen eye on. [Jul 2012, p.83]

This sad skewed pop with shades of Momus, Sakamoto, L. pierre and Bjork weaves its magic on the fluttering yet forthright Salty, vocal tapestry of Come Behind Me, So Good! and raw emoting of Meo, but palls a little before its haunting apex on spaced-out sign-off Coyote, with spectral echoes of Kazu's complicated past. [Oct 2019, p.86]

Lavish second release from Welsh synth-pop artist Rod Thomas. [Aug 2014, p.96]

Slow Focus isn't without merit but you yearn for more. [Aug 2013, p.91]

Two Of Everything is a sure-footed progression from 2009's self-titled debut, thanks to the warm co-production of Dan Auerbach (Black Keys) and the pair's willingness to push the sonic envelope into the outre zone, even embracing bagpipes. [Sept. 2011, p. 96]

A teeming sonic bricolage of absurd/disturbing found vocals, bizarre musical fragments and their own art-funk chops, it suggests kinship with Robert Ashley, Aphex Twin and Eno & Byrne. [Sep 2010, p.97]

There are moments when Craft's melodies don't punch quite so hard as his striking, road-less0trodden imagery. [Mar 2018, p.90]

A potent debut that juxtaposes pastoral lyricism with urban angst. [Mar 2016, p.96]

By turns squally and bleepy, poppy and droney, the music here is too unfocused to really hit home. Again, just like old times. [Jan 2014, p.97]

Fluorescent keyboards crowd Kiwi Jr.'s once-open spaces on Chopper, making the surface of their first "produced" LP feel more like an oil slick than the band's past terrain of jagged delights. [Sep 2022, p.93]

She's neither a soft seducer nor a lapel-grabber, but her eye for detail combined with that degree of vocal detachment quietly commands attention. [Mar 2009, p.109]

This is undeniably beautiful in its minimalist repetitions but could do with a little more dirt in the weave. [Apr 2012, p.95]

Tends to drift in one and out the other at times. [Jan 2005, p.102]

The actual tunes may not be particularly strong, but crucially, at the centre of it all Natalie croons and sighs with all the clear-eyed moonfaced sweetness of Juliette Binoche baking cakes. [Dec 2001, p.116]

His songs are hypnotic but oddly clunky vocals keep it earthbound. [Jun 2014, p.98]

Dynamic, packed with vim and hooks. [Jul 2012, p.83]

The presence of four hired songwriters dilutes the duo's offbeat DNA. [Oct 2016, p.96]

Despite the Vegas veneer, there's an underlying punk energy, like a cocktail dress with a tattoo at the neckline, a combined act of tribute and subversion. [Feb 2019, p.84]

A record that is demanding and compelling, though often beautiful. [Jun 2017, p.90]

A surfeit of wilfully sibilant '80s keyboard sounds notwithstanding, there's little to dislike. [May 2009, p.103]

The One's meditation on the price of fame is especially good value, but the Ace of Base-style of What Do They Know is hard to forgive. [Jan 2011, p.99]

Don't Look Surprised strays into Killers Territory but the doo-wop strut of Hunger and calypso jangle of Photograph more than make up for it. A life-affirming debut. [Mar 2011, p.95]

Symphonica is decidedly upmarket, but more picks in keeping with its ballsy take on the Newley & Bricusse standard Feeling Good wouldn't have hurt. [Apr 2014, p.90]

The bad times have never sounded better. [Mar 2012, p.98]

Inspired by Elena Ferrante's dense domestic dramas, wears its complexity lightly. [Nov 2021, p.94]

Those all curious about CocoRosie should begin here. [Jun 2013, p.88]