If It's Never Been Like That sees them rocking out by their own standards, they're still a sweat-free prospect by most others. [Jun 2006, p.118]

To a saucer-eyed teenager with a head full of pills stood amidst Deadmau5's immersive, impressive son-ET-lumiere experience, watching everything "going right off," it'll probably sound amazing. Maybe the rest of us should just wait outside in the car until the show's over. [Nov 2012, p.105]

What remains is a skeletal approach to production, all spare pulses and baleful samples channeled echo-chambered effects. It turns out, thought, that Mitchell also has a feel for deceptively simple melodies. [Jan 2015, p.129]

There's enough to help fans rekindle the love affair. [Dec. 2011 p. 129]

They don't make quite such a startling leap forward on this third effort [as on 2016's Love Yes], but tweak it by reworking their sound with electronic experiments. [Apr 2019, p.116]

Purists may bristle at his irreverent modifications, but consider these old songs' community spirit well served. [May 2016, p.112]

This is his best in aeons. [Nov 2008, p.121]

At times, they still stray into Nirvana territory, particularly on 'Braindead,' but they do so with enough brio to get away with it. [Nov 2008, p.123]

The idea of crossing over is approached like somebody running onto a motorway wearing a blindfold. [Mar 2012, p.111]

Their gentle, dreamy glide sounds like Foals without the hubbud. [Apr 2013, p.111]

Living Thing, equally lovely and contrary, is somewhere between the two [albums, "Young Folks" and "Seaside Rock"]. [May 2009, p.116]

Manson the man at least seems re-energised here....The same cannot always be said for his band; their limp glam metal consistently threatens to undermine the performance. [Jul 2009, p.127]

The Heart Speaks In Whispers is the sound of her getting it right again. [Jul 2016, p.105]

[A] thoughtful solo debut. [Apr 2014, p.118]

Not everything succeeds but on Imagination's fusion of ambient synths and stadium-rock guitars or the electro-pop of Collide-A-Scope, Rundgren fashions a sound that offers nods to his '70s prog past but still sounds utterly of the moment. [May 2013, p.109]

If surprises on Intersection are few, even rarer are the disappointments. [Mar 2012, p.105]

The real revelation is Kaur herself, a wonderfully gifted singer whose shimmering vocals prove every bit as effervescent as her name. [Apr 2011, p.98]

In an age when marketing departments rule, Scott has fashioned an album of epic intent that gamely goes its own way.

Crow Sit On Blood Tree is a bizarre, schizophrenic, and determinedly unmelodic record that lurches drunkenly from the cascading fury of Burn It Down to the acoustic I'm Goin' Away, in which he sounds like an acid casualty from the original Woodstock.

What holds it all together is Henderson's blank, uninflected vocals, though the resulting ambience couldn't be more self-consciously avant-garde if the album came packaged with wrap-around shades and a copy of White Light/White Heat.[Sep 2016, p.106]

Though his band can meander, Harrison has proven himself his own man. [Oct 2-012, p.107]

Captivating. [Oct 2011, p.120]

There is kitsch charm throughout. [Nov 2014, p.112]

As a functional piece of music, it's fitness-for-purpose isn't in question,. But as a stand-alone album, the satisfaction it can offer, perhaps, is. [Dec 2014, p.119]

Yet, for all the dumbing down, they have much going for them. [May 2007, p.122]

Not a novelty record, then, nor entirely old hat. [Jan 2015, p.128]

Get cherry-picking. [Oct 2013, p.116]

Temper Temper, their fourth, adds an aggressive edge to their sound. [Apr 2013, p.96]