Isn't an easy listen but those with an adventurous ear will be well rewarded. [Aug 2004, p.101]

At points UNKLE verge on Moby car advert territory, but judicious sampling and that deadpan sci-fi spirit keep the album the right side of experimental. [Sep 2003, p.113]

Quirky, detail-rich arrangements nodding at dub and death metal. [Jun 2003, p.108]

They have an inherent gift for the split-second pause, the cool coda, the scene-stealing lyric. [Feb 2004, p.98]

Somewhere Only We Know is one of 2004's loveliest tunes, and while nothing else on their debut album quite matches this apogee of woebegone non-energy, there's plenty to keep the eyes welling up. [Jun 2004, p.116]

Shine is an intriguing portrait of a civilised chap in turmoil. [Apr 2003, p.110]

Somewhere in there Brown's murmurous vocals and the lyrics tend to get lost. [Sep 2001, p.99]

Richly textured percussion, thrumming nylon-string guitars, discreet electronics and sundry guest vocalists. [Jul 2005, p.105]

It's far from disappointing. [Apr 2006, p.106]

A tad melodramatic at times, this remains a "Christian rock" album with a serious hellhound on its trail. [Sep 2002, p.94]

A big, bold, brazen statement, epic in places, charmingly flawed in others. [Sep 2002, p.110]

Marrying the softest hushed-breath vocals with a lush musical sweep at once both intimate and panoramic, All Harm Ends Here captivates from the off. [Jan 2005, p.94]

Unessential, yes, but hardly uninteresting. [Feb 2004, p.101]

The blend of Moulds old and new is highly successful. [Aug 2005, p.100]

Perfectly conceived and executed, the album is a beautiful collection of mood music. [May 2007, p.112]

If the album has a weak point, it's a sense of congestion. [Mar 2003, p.110]

A rare feat: gentle and kind without becoming soppy or daft. [May 2005, p.109]

Wolfmother have a canny knack for a tune. [Jun 2006, p.98]

The trio's shared vocals are a unifying factor, finessing the outre music into gently hypnotic melodies. [Sep 2006, p.94]

He's made the album he should've made right after Maxinquaye -- i.e., a listenable one. [Jul 2001, p.112]

While [it] lacks the glitterball dazzle of Emerge, its many-coloured moods result in bankable Moroder moments, baroque ballads, and an ECG-blowing cover of Boredoms' O.

Like a series of melancholy one act plays. [Jan 2006, p.131]

Brassbound is a far better played, better written and lyrically grown-up record than its brash, Brit-pop-punk predecessor. [Jul 2005, p.102]

Remarkably compelling to anyone with slightly more outre tastes. [Aug 2005, p.102]

Wiggs and Trimble do a fantastic job recreating the feel of classic soundtracks of the '60s and '70s... The only shame is that it runs out of steam a little towards the end.

Proves Mark E. Smith's gang have lost nothing of the power to surprise. [Nov 2005, p.104]

Enjoy it before it all gets used in bank adverts. [May 2003, p.104]

The pleasure... is in hearing it unravel. [Aug 2003, p.98]