Develop the creepy incantations into songs and they might really grab some shirtfronts. [Jul 2009, p.107]

The diversity and quality of his songwriting should be even harder to ignore on this second. [Dec 2013, p.84]

Sure, there is a handful of magic that could cause significant flame damage to a dancefloor somewhere, but, beyond that, Jessica 6's toil to sculpt killer from filler is an endeavour that only occasionally pays off.

You can fully imagine The Leisure Society penning another hart-rendering minor classic sooner or later. But for the moment, the waiting must go on. [May 2013, p.88]

A genteel album, more for mellow reflection than dancing on ceilings. [May 2015, p.93]

More quirks and rough edges would have added tot he thrill, but this is nonetheless a heart-warming set from a cultural treasure. [Aug 2018, p.88]

More attention seems to have been paid to assembling the cast than finding something for them to record. [Dec 2004, p.98]

If their creative missteps in the past two decades have generally been caused by their twin determinations to keep up with modern pop and relentlessly pursue music that works in stadia, then here they’ve cut themselves free from all of that. Ultimately, it may be a watershed moment. By stripping it all back down, in some ways, they’re bigger. [Apr 2023, p.84]

Familial is an acoustically plucked, feet-on-the-ground record, Selway's fragile and inviting voice a delightful match for his slightly anxious, if misplaced, self-doubt. [Sep 2010, p.98]

Always Tomorrow sounds like a last laugh - elegantly modulated, slightly hollow. [Apr 2020, p.88]

Although album five gets back to core values, it retains a subtle sumptuousness. [Apr 2010, p.99]

Ghastly. [Feb 2005, p.102]

Howver uncool, these la's will have loads more hits in '08. [July 2008, p.104]

Their strong suits are Nathan Nicholson's forlorn warble and the pop hooks that pepper quiet melodramatic, minor-chord rock songs like Locked In The Basement. [Mar 2011, p.98]

Despite a few bright spots--a Beach boys-style makeover of I Got Rhythm and a swooning I Loves You Porgy--the album falls short of either artist's legacy. [Sep 2010, p.93]

A quirkier affair than their previous works.

Disappoints big time. [Oct 2003, p.110]

The other 48 selections feel forced or too like karaoke homework. [Oct 2021, p.92]

Quality control slumps toward the end, but when they're good the're grrreat. [Nov 2004, p.110]

EAR PWR have concocted a gorgeous chillwave gem. [Jul 2011, p.115]

The crystalline vocals hint at either uplifting profundity or overblown pomposity--it's hard to say which. [Mar 2013, p.98]

The Peth prove they're no mere cracked actors. [Oct 2008, p.110]

A doldorous racket. [Dec 2013, p.86]

Motorcade Amnesiacs feels stifling, overbearing, all too wrapped up in its own perceived cleverness for the listener to really warm to. [Jun 2015, p.92]

Strong, tub-thumping songwriters fall prey to Nashville cliche. [Dec 2018, p.94]

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]

In essence a tonic, The Medicine Show is a little bit more of what the world need now. [May 2019, p.93]

This retreat to classical roots is soothing, if a little one-note. [Jul 2020, p.88]