The five Retina tracks are hauntingly intense....Iris is far warmer-sounding. [Sep 2010, p.123]

Both enticing and disorientating in equal measure. [Jun 2019, p.116]

Though the quality rarely dips, at almost 2 hours long it does get rather wearing. [Aug 2009, p.110]

Animal Wisdom is pretty enough, while drone epic Silent Stream nails his Velvets fetish. But to call the other Nuggets-style fodder here "something else" is overstating it. [Summer 2018, p.109]

An adult rock record in which nuance succeeds over bombast. [Dec 2002, p.108]

It's essentially ambient comedy cabaret. [Nov 2003, p.117]

Hard to pin down, and all the better for it. [Jun 2012, p.111]

Drenched in feedback and carbuncled with extra riffs, Familiar To Millions makes Be Here Now sound like it was recorded on a four-track by Elliott Smith. Yet unlike recent Oasis albums it's mostly fun, going right back to the broad, singalong Gallagher-karaoke of more innocent times. It helps that the Oasis 2000 set consisted mainly of their earlier, more familiar, better material being put through a wringer of behemoth-rock.

A few pop-soul cliches creep into the album's cluttered middle section. But the rest is 21-st-century electronic pop delivered with style and ambition. [Aug 2013, p.106]

Although his monotone becomes a little wearing over an entire album, this is still his best work in a long time. [Oct 2012, p.106]

There's nothing as heroic as Smashing Pumpkins' Tonight Tonight, but Now (And Then) is a surprisingly successful attempt at emotion. [Jul 2005, p.113]

At 65-plus minutes' duration, Honeymoon's submarine/somnambulant vibe does rather overstay its welcome. [Dec 2015, p.115]

Willfully meandering yes, but it's an enjoyable shambolic ride that bottles early Pink Floyd, Skip Spence's cracked psych-folk and the ragged majesty of the Stones' own magnum opus. [Nov 2014, p.111]

No Doubt have always been a platinum-haired party band, but, over 20 years into the game, such platinum pop perfection feels far less forced. [Nov 2012, p.108]

Dense swirls of electronic noise, baleful, twanging gothic country guitars, lyrics that never quite reveal some horrifying secret - fans of Lynch's films with find themselves on familiar ground. [Dec. 2011 p. 129]

Their slow, brooding, impeccably delivered songs exude menace and promise drunken but regrettable sex, while the symphonic closer 'Waves' suggests they have the wherewithal and inclination to evolve. [Aug 2008, p.145]

Dimensional People III is the key. Its multi-layered ambience is indicative of the record as a whole and it serves to highlight this duo's zest for reinvention. [Jun 2018, p.113]

Not everything works, but there's a painful honesty throughout that befits a songwriter with no desire to lapse into a complacent middle age. [Mar 2012, p.111]

Somewhat laid-back for a record made by an ex-punk, even one in his mid-50s. [Apr 2013, p.96]

There's nothing here to match the heavy thump of his mid-noughties collaborations with the Melvins such as Sieg Howdy!, but it still punches hard. [May 2013, p.95]

The attentions of trendsetting producer Dave Kelly ensure the music is tight where it matters. [Dec 2002, p.112]

An eerily precise facsimile of the grandiose, broken-down dream rock of The Verve.... Close your eyes and it could be 1997 again. [Nov 2002, p.105]

A genuinely quirky record. [Oct 2009, p.112]

The results are accomplished, but the yearning twang of the porch is never far away. [Jan 2005, p.127]

Undoubtedly ambitious, drawing on soul, jazz and squalling rock, the best moments keep the focus on Monche's own voice, with Shine's radical poetry reminiscent of veteran firebrands The Last Poets. [May 2011, p.112]

There are moments when their balance is perfect and the Fleetwood Mac tumble of Feel It Coming Near or the parting-mists of the title track keep their undoubted talents in sharp focus. [Jun 2012, p.111]

It's true that there's no grand new ground broken here, but Bright Light Bright Light has a pastel-coloured appeal that's all Thomas's own. [Aug 2014, p.104]

While the individual elements all sparkle, at times there are so many stylistic tics that the songs can get lost in the mix. [Oct 2016, p.106]