Chopper blades and police sirens pepper the album; indeed, shorn of this angsty hum, the by turns pastoral and metallic instrumental tracks pale. [Apr 2004, p.106]

While their material lacks the instant hooks of attention-snaring contemporaries like The Handsome Family, [it] rings with a robust authenticity. [Jul 2003, p.112]

For all its country rockin' appeal, Monsoon lacks the emotional charge of its predecessor. [Feb 2004, p.98]

A disorienting work somewhere between Scott Walker, Joy Division and Matmos. [May 2004, p.105]

Old skool studio wizardry abounds. [Mar 2004, p.107]

Better records lie in their future, doubtless, but this is a very promising, very charming glimmer. [May 2004, p.104]

[These albums] are as much of a pendulum swing from Is A Woman as Is A Woman was from Nixon. [combined review of both discs; Feb 2004, p.90]

Many of the songs... are short, some feeling cut off in their prime, others a little undeveloped. [combined review of both discs; Feb 2004, p.90]

Should please any Stone Roses fan. [Mar 2004, p.108]

Evern more so than on Silence Is Sexy... a few telling elements are deployed to dramatic effect here. [Feb 2004, p.98]

It's similar to the debut.... But there's a more vivid light-and-shade to the textures and a craft and depth to the compositions that represent a welcome distillation of Jones' art. [Mar 2004, p.92]

This has wit in spades, an irrepressible love of language and genuine originality. [Oct 2004, p.110]

This isn't a great departure from The Coral but mainman James Skelly's increasingly witty words and ear for a killer jig put this in a loveable place of its own. [Aug 2003, p.95]

Most of which 'works', all of which comes thick with a sense of joy and love for the denim and leather. [Mar 2004, p.106]

If anywhere, this stuff belongs in interviews, not in songs. [Mar 2004, p.94]

This is manna for hip hop fans starved of basic but ballistic beats-and-breaks fare in an increasingly litigious age. [May 2004, p.102]

Explores Incubus' inner jam band. [Feb 2004, p.94]

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

Their masterpiece--the re-interpretation of Western rock history as some consenual power-prog dream narrative where Led Zeppelin and Soft Machine are more important than The Beatles. [May 2004, p.105]

An arresting cocktail of post-punk angularity and instinctive pop savy. [Feb 2004, p.102]

Darnielle is a lyrical genius, for sure, but... you're left wishing for a song, just one song, that doesn't sound like a man strumming or plucking that damned folky guitar. [Mar 2004, p.96]

Bows & Arrows might seem like the ideal rock'n'roll yuletide soundtrack--and it is, but only for those who spend their Christmases in dive bars with nothing but a gold-hearted hooker, bottomless highball glass and volume of Bukowski poetry for company. [May 2004, p.100]

Modern without being self-conscious, metal without being stupid. [Mar 2004, p.106]

Has a strangely nostalgic feel. [Mar 2004, p.104]

A better advert for time-share life it's hard to imagine. [Feb 2004, p.102]

The lyrics have become downright soppy and the melodies turned trite. [Feb 2004, p.92]

Despite a blip of vital signs, this 4-CD sprawl does The Cure's reputation no real favours. [Feb 2004, p.106]

Elbow... have let new-found bliss propel them to yet loftier heights. [Sep 2003, p.106]