They have toughened up. [Jun 2005, p.113]

A trip worth taking. [Jun 2005, p.116]

Lunacy has seldom sounded more exhilarating. [Aug 2005, p.126]

[It] finds her on familiar territory, offering 12 concise yet fully realised vignettes. [Oct 2006, p.124]

While dull moments are few and far between, there's little among these 19 tracks to rival such hummable past glories as Time Bomb or Roots Radicals. [Oct 2003, p.113]

Though head-spinning, this collision of ideas retains some cohesion thanks to Gelb's sun-scorched songwriting that sees his acoustic alt-country efforts, in particular, shine. [Oct 2004, p.123]

Conjures a magical, cut'n'paste dimension where genteel lounge sways to disembodied voices, clicks and bleeps. [Apr 2005, p.126]

The band's ability to rock out at the drop of a hat proves a pleasant surprise among the dopey reverie. [Jun 2006, p.115]

There's a lack of clutter to songs such as To The Open Spaces and the title cut, with its barely-there brass arrangements, which makes them simple pleasures, and among the best songs of her career. [Jun 2003, p.102]

It's a fine set, full of calm, thoughtful rhyming. [Nov 2004, p.125]

Splendidly queasy listening. [May 2004, p.100]

Lyrical delights lurk round every turn. [Dec 2003, p.132]

They don't quite escape the shadow of Godspeed You! Black Emperor or Mogwai, but there's something rather joyous about this unadorned rock dynamic. [Jan 2004, p.114]

A funk-driven return to familiar ground, laced with dark imagery, beefy hooks and sharp vocal trading. [Jun 2004, p.97]

Sweet, nostalgic and relishing the strength of words softly spoken. [Aug 2004, p.112]

A treat. [Jul 2003, p.108]

Diminished by their willingness to splash about in the post-Tortoise shallows. [Dec 2003, p.124]

A thrill from first to last. [Aug 2004, p.106]

A solid comeback, then. [Sep 2016, p.105]

While he's not breaking any boundaries, when Moore keeps the tempo up.... he's as good as any other would-be Moroder, even if the title track's lyrics and FM swagger owes as much to US soft rock behemoths Foreigner as it does to Studio 54. [Jun 2012, p.107]

An inventive album whose impact is lessened by Guthrie's illustrious past. [Jun 2004, p.107]

A fun if disposable diversion. [Feb 2006, p.105]

There's plenty of schmaltzy cobblers on Another Country, too, but the good bits are just about worth hanging in there for. [Dec 2015, p.114]

The model can work successfully--There IS Nothing Left recalls a sunnier, more sugary take on '80s Cure, for example--but elsewhere songs would benefit from editing. [Nov 2014, p.111]

It's an addictive dream-pop blueprint, yet it's only when the percussion powers down, as on closer "The Wait," that the band hit the ethereal heights they're shooting for. [Aug 2010, p.125]

The title track sounds like it was written for a TV movie and Lower The Tone is a sexless sex-jam, but it's an energetic return regardless. [Mar 2018, p.113]

Bontempi organ drum tracks merge together to create a hypnotic funk. [Sept. 2010, p. 118]

It's still on the dancefloor showstoppers--No Enemiesz, Giant In My Heart--that she really comes alive. [Jan 2015, p.127]