Jones sounds like he's in his element. [Nov 2015, p.94]

These are wonderfully built earworms here, but callow writing sometimes morphs them into mere infections. [Apr 2021, p.82]

Despite the recruitment drive, it's another curious case of history repeating itself: N.E.R.D setting their phasers to stun, but only intermittently finding the target. [Feb 2018, p.91]

Gallipoli, recorded in Berlin and Puglia, is oddly unmoving, lacking range for all its seductive picturesque roaming. [Mar 2019, p.96]

The amount of recording distortion on some pieces, like on the sparse, meandering piano instrumental Last Of The Lantern Oil, can tip the balance over into ear-buzzing discomfort. [Apr 2020, p.87]

They wear their ideas on their sleeves, certainly, but under all the layers, a heartbeat is sometimes hard to find. [Feb 2008, p.104]

The boogie imperative on Knuckleball Express is less deconstructed than usual. [Jul 2020, p.84]

There's a punkish, uncompromising bravery to tracks like Raging Earths--piledriving beats and a gathering storm of swelling synths--that's strangely compelling. [Jun 2019, p.95]

The first half of this Bristol-based quartet's debut is too idolatrous, but the second plunges into deeper cavernous spaces. [Apr 2015, p.89]

With the frustrating Violent Light, Wilson has surrendered his own persona. [Apr 2014, p.97]

It's only when Lennon takes over that the collaboration really works. [Jul 2016, p.94]

An amibitious record. [Dec 2003, p.113]

[A] thrilling state-of-a-broken-nation address. [Jun 2013, p.95]

Moddi's own arrangements, translations and distinctive Donovan-esque tones ensures Unsongs coheres as a n album as well as an eye-opening lesson in the importance of music. [Nov 2016, p.88]

The Sun Awakens isn't wildly different (from its predecessor)--though it introduces tripped-out electric guitars to Chasny's homespun palette. [Jul 2006, p.102]

You're left feeling less !!! than ??? [Apr 2007, p.102]

Great to have back that little razor edge that Lytle loses when he steps away from his bandmates, but this might be the last time he gets away with it without a major rethink. [Apr 2017, p.96]

As feisty good-time rock goes, the Stones get good and gone and its worth every penny for the duet with Buddy Guy on Muddy Waters' 'Champagne and Reffer' alone. [May 2008, p.103]

What follows in this set is a chaos of experiment and assigned alliances. ... Ironically, the oldest recordings on You're The Man are--that single excepted--among the best Gaye here. [May 2019, p.100]

Outlaw doesn't deliver six-pack sagas, instead he offers Bottomless Mimosas as a morning pick-me-up. [Jun 2017, p.93]

It's breathless stuff, but can feel homogenous after a while. [Apr 2014, p.98]

Just a tad more quirkiness would be welcome. [Jul 2016, p.92]

Another album big on willful naivete and arrangements so pretty they make Belle & Sebastian sound like Finnish black metal. [Jun 2013, p.86]

Michael Collins' latest sounds like a 21st century Ween--knowing pastiches of '70s Laurel Canyon, '60s jazz soundtracks and more, with guests. [Oct 2016, p.100]

Top heavy with gleeful dysfunctional relationship songs, though eventually stalling via forgettable '80s rock mediocrity. [Dec 2003, p.109]

Musik, Die Schwer Zu Twerk's 30 minutes stand on their own despite nods to Flaming Lips' darker side and Linear Downfall's fascination with early King Crimson. [Sep 2014, p.91]

Anyone possessing their previous output will find little in the way of reinvention. [Oct 2006, p.96]

Strings, gospel choirs, outeros inspired by Queen--the Manics' 10th album cranks up the drama, but in their hands grandiose needn't be a dirty word. [Oct 2010, p.94]