No one could have expected the four Stooges reunion tunes to sound so young and furious. [Nov 2003, p.120]

Struggle, New Disco, and Dance To The Underground are too-self conscious by half but they're still hoisted by a steamrolling dynamic and sharp hooks. [Nov 2002, p.110]

These songs sound more like her collaborators' than hers. [Mar 2002, p.120]

The trio's nearly sub-sonic blues, jazz and beat poetry hybrid once again evoking a dangerous Spanish Harlem drinking den while Near Eastern influences and a subtler instrumental mesh hint at what might yet have been.

Ultimately, this is a fun record by a fun band. Not a bad thing by any means, but a little more salt in the soup would have been welcome. [May 2016, p.117]

In the past, they have demonstrated the power to leave people flattened: Valtari, however, just falls a little flat. [Jun 2012, p.94]

Younge and Muhammad give Ayers a crisp edge that achieves the unlikely feat of dragging jazz-funk into the modern world. [Sep 2020, p.107]

It really is an indie-pop romp to die for. [Apr 2015, p.105]

It's [his] spin on social commentary that singles Drew out. [Jul 2006, p.116]

Stratton is much richer musically than lyrically but, like a fast-flowing stream, he carries you along with him regardless. [Sep 2017, p.115]

It's the most consistently enjoyable Malkmus/Jicks LP since his excellent self-titled album of 2001. [Feb 2014, p.117]

Of the four new tracks, Just Like We Never Said Goodbye is the pick, evoking a John Hughes school disco scene soundtracked by Aphex Twin, though anyone feeling the package still lacks substance can select the full "Silicon" option at Sophie's webstore. [Feb 2016, p.118]

Free Nationals say less about the band's identity than it does their taste, skill and curatorial clout--but that's still more than plenty. [Feb 2020, p.112]

If Fake Sugar lands, the mainstream's in for a sweet treat. [Aug 2017, p.103]

The first half of Heart On is a heroically hedonistic party, but it's the subsequent comedown that, inevitable, lingers longer. [Feb 2009, p.113]

Simon Le Bon's croon oozes with charisma throughout and the elegant, new wave pop hooks of their heyday are revisited. [May 2011, p.126]

Darkly funny and strangely beautiful. [Nov 2009, p.111]

There's enough here certainly, though, to suggest he's one to keep an eye on. [Oct 2013, p.97]

This is graceful and elliptical songwriting. [Mar 2015, p.109]

Some suitably dramatic music. [Feb 2016, p.115]

The hypnotic techno loop of Dicker's Dream provides forward momentum, though it's the more contemplative moments, from No Reflection's sparkle to Moon In Water's limpid ambience, which shine brightest. [Jan 2019, p.113]

Not the easiest of listens. [Feb 2007, p.98]

Maybe he's not the kind of artist you need to hear stripped down. [Jan 2013, p.101]

Hard to believe they needed 13 years to make it, but Event 2 is well worth the wait. [Nov 2013, p.103]

It's genuinely exciting to think where The Horrors might go from here. [Jun 2014, p.105]

The songs this time have a depth and a warm maturity, a Neil Young sensibility coupled with a soul-singer sensuality and a distinct pop edge. [Feb 2016, p.113]

Even if the songs aren't much more than workmanlike, they're good enough to showcase the man's still mighty roar and shattering guitar playing. [Jan 2011, p.142]

Superb. [Jun 2011, p.114]