The lyrics are full of fleeting assignations and gruff, bumper-sticker wisdoms, apparently seeking to draw hard-bitten romance from the business of being in a band. [Jul 2003, p.107]

Can be hard for mere mortals to swallow. [Oct 2011, p.104]

Clever-innocent, it's a bit Cerys Matthews, a bit Bow Wow Wow... minus the tunes and larger-than-life character to get stuck into. [Dec. 2011 pg. 94]

Paralytic Stalks is not an easy listen, but neither is it a good one. [Mar 2012, p.98]

The record's near-constant gloom and woolly arrangements are difficult to digest. [Feb 2004, p.99]

It intrigues more than satisfies. [Apr 2005, p.100]

It's rather an unsuccessful mish-mash, especially given the aggressive diversity of the guest stars. ... But the weakest link is Morello's hyperactive and ultimately distracting tic towards Skrillex-esque techno bursts, bleeps and squelches, which ensure The Atlas Underground will age worse than MAGA hats. [Dec 2018, p.84]

Her syrupy soul often fails to mesh with B.I.G.'s taut flows. [Jul 2017, p.96]

Keep Calm...is a perfectly good album, but it strives for nothing more. [Dec 2009, p. 90]

Rather than gaining urgency Tomboy instead feels rhythmically constrained and sonically muted. [May 2011, p.100]

The whole affair comes off like a desperate bit of trend trawling. [Feb 2004, p.99]

In its Thatcher-ite commitment to pop perfection, it turns the art of the album into a sausage factory of hit making. Alexander's Years & Years sounds like a ragbag of contemporary influences rather than possessing a distinct sound of its own. [Mar 2022, p.85]

Lights does have its moments: the strident "Uner The Sheets" and the odd sounds of the Frankmusik-produced "Wish I stayed" stand Out. But when they're placed next to the overwrought, cliched ballad "The Writer" or the dodgy Europop of "I'll Hold My Breath" it adds up to a rather bland listen. [Apr 2010, p.92]

Portamento does not convince. [Oct 2011, p.105]

Represents a giant leap backwards. [Nov 2001, p.112]

Mills' slightest work by some distance, The Fifth is evolution in reverse. [Oct 2013, p.88]

The thick strings lead to fumbles, as imagination is constrained by technique. [Sep 2009, p.104]

For every shot that hits the target, however, another flies into the blue. [Sep 2005, p.92]

A pretty disappointing work of rock ordinaire. [Jun 2006, p.112]

Beneath The Skin becomes a cautionary take if how going for "affecting" can end up just terribly overwrought. [Jul 2015, p.90]

A record, which, though obviously heartfelt, never sounds unified. [May 2015, p.98]

Largely insubstantial. [Aug 2017, p.97]

The heart of the album sticks closely to their well-tried formula: sing-song melodies and puerile lyrics set against a steady backdrop of numbingly bland riffage. [Jan 2004, p.106]

This album delivers rather less than the hoped-for thrilling mix of Latin rhythms, scorching organ and lyrical blues-mariachi guitar solos, but does so in bulk. [Jul 2016, p.96]

Fans of relentless riffing may be sated, anyone else will be left feeling a little awkward. [Dec 2005, p.98]

London's Yuck offer scrubbed-up take on the FX-drenched guitar pop of Pavement or MBV. [Apr 2016, p.96]

It's impressive, but heavy going, with scant trace of 50's acerbic humour. [Apr 2003, p.114]

Within its luxuriance of old, within its dreamscapes Fitzgerald's often Kitchens-sink observations and harsh, bloke-from-Editors singing voice remain naggingly terrestrial, dragging the listener down to earth, when everything else is straining heavenwards. [Dec 2013, p.90]