Resolution is a furious and unrelenting broadside of searing riffs and invention. [Feb 2012, p.107]

Not without some good moments, but bereft of magic. [Feb. 2012 p. 104]

The 37-minute length is not the only thing about this album that's slight. [May 2006, p.116]

So we get stomping piano pop hits (I'm All Over It), supper-club R&B (a cover of Rihanna's Don't Stop The Music) and finger-clicken' ruminations on the stage of the planet (Wheels, If I Ruled the World). Proof the thrill is in the chase. [Dec 2009, p.111]

Hynes, it seems, can get away with more than most. [Sept. 2011, p. 103]

The acoustic-only, antique-sounding folks songs of Realism are superficially less abrasive than 2008's Distortion, but beneath they still articulate black-humoured romanticism. [Feb 2010, p. 111]

The musical scope is breathtaking. [Dec 2003, p.139]

Much of Love & Life... is a procession of syrupy ballads with added self-help litanies. [Nov 2003, p.113]

Isn't for the meek. [Mar 2004, p.110]

:?q:,ails is much better than a collaboration between a former Luscious Jackson keyboardist and a former Breeders bassist has any right to be.... the surprise derives from the convincing Gallic pop-meets-Brazilian tropical-meets-American prairie blend.

Tender New Signs is full of cracking tunes that help avoid the formlessness that effects-laden atmo-pop often slumps into. [Dec 2012, p.113]

This is easily her best album in 20 years. [Oct 2007, p.105]

Shelby struggles to get her dues outside conventional country circles, but Tears, Lies And Alibis is far from conventional. [Nov 2010, p.111]

Concrete And Gold is a straightforward Foo Fighters album, albeit one that does occasionally fulfill its promise to deliver both aural lavishness and maximum heaviosity. [Oct 2017, p.102]

The album evokes not claustrophobia but space and freedom: an exhilarating screw-the-consequences leap into the bizarre. [May 2010, p.110]

There's no faulting the brilliant playing, but by restricting themselves to exploring a fairly unevolved musical form they forever repeat its limitations. [April 2012, p.90]

While it may be too easy to reach for the word "cinematic," it can't be avoided. [Dec 2015, p.104]

Sound[s] as much half-finished, stoner bumbling as personal offbeat vision. [Aug 2003, p.104]

Joyously propulsive... [Yet] there's little deviation from a straightforward palette of sticky basslines and boom-bap rhythms. [May 2012, p.95]

The band's ability to properly play together more than justifies the album's title, an archaic English word for feeling pleased. [Jun 2013, p.109]

Sleeping Around The Corner is a finely calibrated update of their FM-rock blueprint, while Too Far Gone nods cheekily to Tango In The Night's Big Love. [Aug 2017, p.100]

Amid the dominant electronics, the regular injections of big, sonorous basslines, clattering percussion and discordant jazz tones make for a thrilling ride that pulses with energy and adventure. [Aug 2019, p.112]

Simply, what this amounts to is the best U2 album since "Achtung Baby. [Apr 2009, p.94]

Memphis soul is tapped by JTE ... the regret and pain of his songs harking back to the days when drugs had him thrown out of his father's band. [May 2012, p.91]

While mostly perfectly acceptable as individual songs, the 13 tracks don't really stack up as an album, not one that gets close to his best anyway. [Mar 2009, p.94]

It seems that Ferry's singular blend of elegance and dissolution still hasn't gone out of style. [Dec. 2010, p. 111]

Peaking Lights have sacrificed some of their uniqueness for added lovability. But their hypno-pop still sways to a rhythm entirely of its own. [Nov 2014, p.116]

They're at their best when they keep it succinct, as on I'm Still Believing and Another Dimension. Their longer songs are less successful. [Dec 2016, p.115]