Sensual melancholy is a mood but Cry occasionally needs another one or two up its heart adorned sleeve. [Dec 2019, p.106]

It's an ugly brute of a record too, but one you can't stop looking out. [Sep 2013, p.100]

Standouts Everybody Wants To Be Famous and Something For Your M.I.N.D.. The rest divides between disposable cut-and-paste experiments and breezy indie-dance, at least making up in energy what it lacks in depth. [Apr 2018, p.115]

This collection collects their best and worst. [Oct 2012, p.118]

Selway understands that he starts with a blank slate and that his extracurricular activity need sound neither drummery nor Radiohead-esque. Instead, he's blessed with a warm and gentle voice, he sings of heart, hearth and on the aching "broken Promises," the death of his mother in 2006. [Sep 2010, p.120]

Refreshingly simple in its own small way. [Feb 2013, p.103]

Carefully constructed with plenty of inventive, multi-layered vocals, it works best on the livelier songs. [Apr 2013, p.93]

Only the occasional squalling, free-jazz meltdown gets in the way of letting the good times roll. [Jun 2016, p.114]

There's a pleasing magpie approach to his songwriting.... At times, however, his influences are too transparently obvious. [Apr 2015, p.107]

Its supulchral riffs, histrionic vocals and ludicrous lyrics are all comfortingly familiar. Something unexpected wouldn't have gone amiss, mind. [Jul 2009, p.117]

Tellingly, they're at their most beguiling when taking chances. [Jun 2009, p.134]

This Ronson-produced collection of swinging '60s pop and blue-eyed soul is still well-crafted, with standouts. The problem is Merriweather's voice, which is technically agile but emotionally anodyne. [Jul 2009, p.127]

The musical similarities to old muckers Coldplay might smack of cynicism, but you can't fault their ambition. [Jun 2014, p.108]

Headaches and nausea are a possibility, so approach with caution. [Apr 2007, p.116]

On this first album in 16 years, return unspoilt, showcasing Gano's helter-skelter take on familiarly rootsy targets such as Bob Dylan, Lou Reed, country and rockabilly. [Apr 2016, p.116]

Other artists might have engaged in some sort of artistic progression by now, but this is what Black Lips do. They bend to no one's will but their own. [Jul 2017, p.104]

Nutty Boys no more, Madness may be big men but, judging by this, not entirely out of shape. [Jun 2009, p.131]

Though Candela never fully eludes to Pierce's studied background, the foundations are strong enough for him to go wild with the decorations. [May 2013, p.106]

It's certainly not a consistent album, but the best of it is unique and intriguing. [Apr 2009, p.102]

There's a thin line between quirky powerpop and being They Might Be Giants. [Feb 2004, p.106]

Their former group's artful exuberance and awkward edges may have been sawn off to create a more grungy rasp, but there's still plenty of angst on show. [Oct 2002, p.117]

Largely they hit the sweet spot by turning these songs into tunes that could be straight off their own LPs. [Sep 2015, p.110]

The mood is still bossa nova night at the Marxist reading group, but that's not entirely a bad thing. [Apr 2005, p.123]

The propulsive Fast Forward proves there's still a shard of emo in their hearts, but mostly this feels like a bold reboot. [Dec 2018, p.114]

Such willful awkwardness means they're never likely to rise above cult status, but this is still a very welcome form. [Jan 2013, p.105]

An occasional over-eagerness for approval, though, can allow attention to wander. [Jan 2013, p.111]

At its best, it makes for exhilarating listening, as on 'Crimewave' and the bleep-funk soundclash that drives 'Air War' and the unexpectedly tender 'Courtship dating.' [June 2008, p.138]

Replacing buoyant guitars and boy-girl dilemmas with dark themes of religion, parenthood and death, this [album] is a bridge to grittier material, albeit that with a glittering pop-rock handrail. [Nov 2011, p. 143]