The Flaming Lips and Heady Fwends was the perfect Record Store Day artefact--dramatising the value and mystique of physical recordings. [Sep 2012, p.94]

The album is a retroactive joy from start to finish. [May 2015, p.92]

Compare this latest instalment of vivid, left-wing existentialist pop with past triumphs like Mars Audiac Quintet and Emperor Tomato Ketchup, and it's every bit as good. [Apr 2006, p.102]

An interestingly mixed-up album. [Sep 2001, p.114]

Love Is Here is juvenalia -- persuasive, and suggesting greatness should the band have the courage (or the license) to cut loose. [Nov 2001]

A covers album supreme. [Dec 2004, p.114]

Scales new heights of bong-loaded majesty. [May 2005, p.108]

They return with an eleventh album on which they seem to have distilled every good idea into these 14 short, smart songs. [Sep 2008, p.106]

O'Brien prowls around angular guitar and drums. Imagine a Kim Gordon-fronted PiL. [Jul 2022, p.97]

There's something quietly masterful about The Other Side Of Make-Believe. Strong, dignified, scarred but moving forwards, it's the sound of a band charting emotional disturbances, but emerging renewed. [Aug 2022, p.91]

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

While they fight shy of radical "Kid A"-style reinvention, hats should be doffed to Coldplay for at least having artistic cojones to mess with a winning formula. [July 2008, p.101]

Occasionally, as on the stuttering, beats-at-war-with-the-tune One And Lonely, it's not so successful, but in the main it's easy to feel both the width and the quality. [Jun 2011, p.106]

With these less-then-cutting-edge elements Wilson manages to conjure that's diverse and full of drama. [Oct 2009, p.97]

The odd uptempo beat rather jars. [Jul 2013, p.96]

These are top space-jams. [Feb 2017, p.90]

The best of these songs are easily a match for Broken Social Scene. [Nov 2007, p.106]

It's definitely in the family tradition. [Oct 2006, p.112]

Monstrous stoner-psych jams from, of all places, Williamsburg. [July 2010, p. 95]

The electronic treatments melt lusciously into the acoustic source material and only occasionally ... does dissonant incongruity intrude. [Aug. 2011, p. 106]

Born To Sing is a return to classic form. [Nov 2012, p.86]

The overriding feeling, though, is that you want to give them a good shake, maybe get them a it drunk, try to liven them up. [Apr 2016, p.91]

Hectically enjoyable LP. [Oct 2020, p.87]

The London singer's stark acoustic covers album works best when furthest removed from the original. [Mar 2021, p.91]

With many of Paisley's songs dealing with people struggling between places, timeframes or lovers, such unforced, reflective songwriting deftly grounds these unsteady experiences, an arrangement that simply works. [Apr 2023, p.85]

Here, the tunes are dubbed to within an inch of their lives, reduced to fiddly-for-fiddling's-sake electronic bleeps and riffs. [Oct 2011, p.100]

Small World suffers from sonic conservatism: The Tame Impala-lite of I Lost My Mind is undercooked, while It's Good To Be Back's tracly synths are a touch self-parodic. [Apr 2022, p.88]

This is the far meaner, angrier and punkier [of the two post-Libertines albums] [Jun 2006, p.98]