Some of it is beautiful, but perhaps they should've enlisted the help of their offbeat brother Rufus to add a bit more colour to the canvas. [Jan 2016, p.115]

What Mew have come up with here is a gently twinkling Mercury Rev-ish album of experimental percussive nonsense and occassional jazz-like noodling that somehow manage to hypnotise even while they irritate. [Oct 2009, p.114]

There's a little too much in the way of filler, but this is a promising start. [Feb. 2011, p. 113]

In its crunchy guitars, rich harmonies and fist-pumping choruses, there's a warmth and positivity that, while occasionally too smooth, shows an admirable disregard for current trends. [Jun 2010, p.128]

The significance of their sonic puzzles can remain frustratingly out of reach. [Jul 2014, p.114]

Combining Koretsky's electro throb, Rourke's funky bass and O'Riordan's distinctive, albeit newly toned vocals. It particularly works on the uptempo and lush The Moon and the more hardcore Gunfight, enhancing everyone's reputation. [Oct 2016, p.107]

Unfortunately there's no left-field motion, no unexpected turns, none of the twist'n'crawl that separated them from the workaday pack. [Nov 2016, p.102]

Elsewhere they veer off into roboid electro, but a certain lack of variety costs points. [Oct 2011, p.124]

While the proceedings might be more restrained than usual on the '80s hardcore-aping Husker Don't and Sabbath clatter of Halloween 3, if you think Lightning Bolt have softened you're very much mistaken. [Jan 2020, p.110]

Surprisingly muted, sophisticated synth-pop that lowers its eyes and keeps to the shadows, a glint of hi-tech disco chrome occasionally catching the light. [Feb 2018, p.116]

Curious fans of contemporary pop-house acts such as Disclosure might find the spartan style forbidding, but once Dunn hits his groove it's impossible not to feel the force. [Feb 2018, p.108]

This debut collection of lo-fi chillwave-esque electronics and introspective song fragments locates itself deftly between Animal Collective's strung-out post-rock and the drum machine-powered sketches of Casiotone For The Painfully Alone.[Dec. 2011 p. 137]

The new problem is a lack of texture: in aiming for big hooks and big bucks, they've thrown variety out the window. [Jun 2009, p.134]

Unexpectedly vibrant, like riot grrrl with tunes. [Oct 2002, p.100]

Yann Tiersen's latest is as distant from that film's {Amelie's] accordion-powered melodies as his native Brittany is from Paris. [Jul 2014, p.117]

There isn't anything quite as special as, say, Veronica but the veins at Costello's temples are throbbing again.

Mostly, it's tight but standard. [Jan 2004, p.114]

If, after a while, it just hangs there like a low mist, Noctunes is still a thing of impressive substance made by a very striking somebody. [Oct 2015, p.102]

It's warmly unreal how in thrall he remains to The Beatles, from melodic progressions down to the thwack of drums, but these heartache-powered ballads retain a simple elation at the power of rock'n'roll. [Jan 2020, p.110]

It's all a disarmingly easy listen, even if their sugar-spun harmonies at times prove a touch too sweet. [Dec 2015, p.112]

This compilation of remixes doesn't find too many revelatory portals in St. Vincent's fifth album Masseducation, but there are moments that know just how to push open the wormholes in Annie Clark's flexible, fluid music. [Feb 2020, p.116]

Not all of it works but tracks such as the duskily euphoric Dojo Rising; Moonrabbit, all sunny, West Coast harmonies; and Ice Age Heatwave, which sparkles on a soundscape of otherworldly guitars, are epic in both sound and ambition. [Nov 2013, p.102]

He's still more traditionalist than outlier, but that's not necessarily a bad thing. [Jul 2020, p.19]

The lascivious lyrics have gone, replaced by monotone melancholic musings on love and loss that initially grate, but actually compliment the minimalist cello and piano arrangements. [Oct 2008, p.139]

Sawhney's gentle yet eclectic studio skills make everything agreeable enough but the opening song sets a standard he never tops. [Nov 2008, p.120]

Essentially, the Hollywood sunshine hasn't changed them. This is probably best, as Smith's eccentricities still elevate Maximo Park above the guitar-pop herd. [Jun 2009, p.128]

They still sound a little too arch and buttoned-up to make a convincing transition from lab to club. [Jun 2014, p.111]

It's all good fun. [June 2002, p.126]