The Stockholm group return; their cement veneer hiding a riptide of emotions. [Dec. 2010, p. 100]

The Rick Rubin and Jacknife Lee-produced follow-up to 2005's "Make Believe," finds Cuomo precariously balanced btween amused/amusing self-obsessed and de facto narcissism. [July 2008, p.110]

The results are as scattershot as the guest list. [Mar 2009, p.106]

All passable fare. [Jul 2009, p.92]

A mixture of old-school smarts and mellifluous modernism. [Apr 2006, p.103]

[Richard] Warren still makes great pop music--free of formula but full of character.

An awkward faceoff between Mathers the prankster and Mathers the cultural and would-be political agitator. [Jan 2005, p.96]

A few tracks disappoint; but there's lusty Fever Forever and graceful Beating On The Outside, which could be Roseanne cash. [Oct 2022, p.90]

Time Flies is a similarly lovely creation, but with this surface gloss also comes a lack of depth and a slight cheesiness to the whole affair. [Aug 2015, p.94]

This second album owes nothing to Kevin Shields and just about everything to the Smashing Pumpkins. [May 2009, p.69]

Cloaked in fuzzy melancholy, Fandango is one for dreamers. [Jun 2013, p.94]

Peaks early with the opening title track. [Nov 2016, p.96]

Colonia has nothing like its predecessor's consistency of tone, but Persson strikes gold with two siren calls worthy of the last, desperate, doom-laden Abba albums. [Mar 2009, p.109]

The story feels thrown together in two seconds, and much of it is irredeemably hokey.... In the end, despite its kooky charms, Greendale is just one more lazy Neil Young album. [Sep 2003, p.96]

Production detail aside, their is little tinkering with their formula. [Sep 2013, p.91]

The singles--'Fruit Machine,' 'Great DJ' amd the electro Krautrock of 'That's Not My Name'--are supported by the equally impressive 'Shut Up and Let Me Go' and closing title track, all bouncing beats, shiny samples and an invigorating knack for a pop tune. {june 2008, p.109]

Stunning in parts. [Nov 2013, p.94]

There's a telepathic harmony to their nuggety pop chug. [May 2016, p.86]

Rather than slicing the Fleet Foxes cucumber too thin, Poor Man adds a whole new flavour. [Sep 2012, p.86

Often, Sinead's words are infected with the pernicious post-therapy psychobabble that blights the contemporary female singer/songwriter...

The ultimate sugar hit: an occassional buzz but ultimately unsatisfying. [June 2008, p.103]

The sound Of Your Laughter and The Guessing Game are Get It On-style glitter boogies; by contrast Stay Now and All That Glitters reveal a more fragile side. [May 2015, p.92]

Redolent of soundtrack ace Danny Elfman, if Kubrick is a pitch for work in cinema it's a sound move. [Jan 2016, p.94]

Their narrative of cosmic self-realisation may be a touch familiar, but overall Electric Eye are mightily far-sighted. [Jan 2018, p.92]

Everything on Sinematic is huge, layered, expertly grooved and overladen with Robertson's parched voice hamming up lyrics which offset the standard portentousness of a rock great sermonising from the Mount with underspun True Crime yarns like I Hear You Paint House, Shanghai Blues and the Orson Wells tribute, The Shadow. [Oct 2019, p.84]

It makes for some oddly sublime listening. [Jan 2021, p.85]

Adrian Younge's ambitious album splices all-analogue blaxploitation sounds with psychedelia. It's a volatile mix for songs. [Apr 2021, p.83]

Singer Ann's third solo LP is her most Heart-like, cruising between drivetime and blues-rock. [Jun 2022, p.89]