Precision tooled to keep Green chart and arena-bound for the foreseeable.[Dec. 2011 pg. 94]

Though this debut might lack any real moments of surprise, guitarist Tom Morello still manages to squeeze unholy sounds out of his instrument while Chuck D's apoplectic anchorman baritone reminds us of his lyrical power and unique timbre. [Oct 2017, p.96]

Blue Eyed Hexe makes occultish overtures; Magdalena is a great, aberrant love song. [Mar 2014, p.96]

A sprawling, instrumentally dazzling work which all but spurns pop songwriting. [Jan 2002, p.99]

When Todd sings his own I Saw The Light he sounds more comfortable than when negotiating The Cars' blustering powerpop. [Jun 2006, p.111]

Demanding, certainly, but a formidable and ambitious endeavour achieved with wit and passion. [Feb 2003, p.86]

Luke Pritchard and co attack each of their songs with crisp, clean confidence, brisk guitar lines and open vowels. [Oct 2011, p.97]

CSS's party-forever commitment is faltering. [Aug 2013, p.91]

Everyday Demons ticks all the hard rock boxes. That there isn't a single orginal idea on display here doesn't actually matter. [Mar 2009, p.105]

While some of this uneven material has been reheated from past writing sessions, Aerosmith are genuinely fighting to reclaim their soul.

All told, it's a slight listen, which fails to stand alone from its parent project. [Jun 2016, p.93]

Mashup of overused modern dancefloor styles and rote bragging, with odd moment of classic purple peculiarity. [Dec 2015, p.94]

The LA quintet still sound like 16-year-old boys.... Musically, though, their slick soulful pop-R&B is far more refined. [Dec 2015, p.94]

Production-wise it's the compressed, tidy sound du jour that flattens out dynamics; it would be interesting to hear them recorded on some funky old analogue gear, to add a bit more grit. [Dec 2018, p.92]

Lacking the wit and lyrical dexterity of a Jill Scott or the raw power of Angie Stone, the songs can feel airless and unengaged. [Sep 2006, p.98]

More stirring are te rougher dancehall textures of Smash Lies and Darkness Into Light's crunching guitars and soaring rock chorus. The latter produces the unsettling, but not unwelcome, result of resembling Soundgarden after a course of toasting lessons. [Jul 200, p.103]

Another like this and they should consider naming themselves after a different Tim Buckley album--Look At The Fool, for instance. [Oct 2003, p.107]

Reincarnated is not the usual Dogg's dinner, nor is it a roaring revelation. [Jul 2013, p.85]

Lyrically, the pair stitch together vaguely gothic turns of phrase, yet devoid of any emotional insight or narrative point. [Dec 2010, p.95]

This is undeniably a better album than they've delivered in some while, but... there still seems to be a lack of conviction in their execution. [Feb 2005, p.100]

An intriguing, funny and inventive listen. [Nov 2006, p.101]

Much of All The Lost Souls is far more icky-yucky than its predecessor. [Oct 2007, p.90]

In the end, caution and Horn's glossy production smother the early Yes's spirit of oddball experiment. [Sept. 2011, p. 98]

Partly dependent on the oft-derided production tics of '80s pop and soul, and partly a lagging stab at a (fairly) contemporary dance album, it may even disquiet the Toddheads. [May 2013, p.84]

While there's some inspired moments, much should've been discarded on son Woody's bedroom floor. [Oct 2004, p.104]

For this album she as worked with a breathtaking array of collaborators, with varied results. [Jul 2011, p.115]

Trouble is they're embalmed within a high-gloss, synth-heavy production that sounds like '80s LA soft rock. [Sep 2014, p.98]

Ther are moments of greatness, opening track 'Spit at the Stars' for one, though mostly it's pained adolescent observations about missing you already which doesn't cut it in the big adult world. [Oct 2007, p.92]