It's that sense of doing just enough but no more that permeates this album, at times rendering it laid back to the point of disengaged.

There aren't any bad songs here, there just aren't enough brilliant ones either. [Sep 2017, p.116]

It may be a little too low-key for its own good--Four Tet explores similar territory with more urgency--but it's full of dog-eared charm. [Jul 2013, p.104]

A strange dream state, then, with not a smiley or glow-stick to be seen. [Jul 2014, p.100]

Brain-melting return from digital hardcore heroes. [Sept. 2011, p. 103]

Not for the unquesting. [Mar 2005, p.101]

They retain enough of their own identity to sound fresh. [Nov 2013, p.114]

While Wonderful Crazy Night lacks a truly great Elton John song, he sounds more driven than he has in years. [Mar 2016, p.108]

Come On Give Up bottles the album's slacker vibe, but Ratworld is more nuanced than most garage rockers could ever manage. [Feb 2015, p.111]

The genre pinballing can work--Brock pulls out his carney Tom Waits voice for Sugar Boats--but it's also uneven, unsteadying. [Apr 2015, p.94]

While there is plenty here that's impressive, the odd change of gear wouldn't go amiss next time around. [May 2009, p.110]

Bipolar Texan tunesmith Daniel Johnston will never be more than an acquired taste. [Dec 2009, p. 126]

It's the cat-on-an-electric-hot-tin-roof cartoonery that makes Perrey such a joy. [Aug 2017, p.110]

Musically, these tracks take in '60s flavour Farfisa-sounds, abstract electronica and, on Citizens Nowhere, the neglected style clash of hip hop and glam rock. [Jun 2003, p.98]

Hardly groundbreaking, but there's heft, heart and humour here in spades. [Oct 2014, p.107]

24 Karat Gold appeals because it's a new Stevie Nicks album that sounds just like an old Stevie Nicks album. The downside is that the modern-day Stevie faces some stiff competition from her younger self. [Nov 2014 p.110]

None of it should work, but it does. [Sep 2016, p.105]

It's all very melancholy and mysterious, as you'd imagine, but the production has a pleasingly seductive, 12st-century sheen. [Dec 2013, p.103]

Far out stuff indeed, but very listenable. [Oct 2007, p.101]

Beyond their all-guns-blazing single, Delete, there's little in the way of mystique on these 12 trim tracks, but there is much to savour. [Apr 2016, p.104]

Breezy, fitfully arch--if ultimately untaxing--indie rock is the order of service here, while the odd dappling of analogue synths does little to suggest it was recorded this side of the millennium. [Apr 2019, p.116]

It's confessional late-night fare but the warmth of Fink's soulful voice is captivating. [Jun 2009, p.121]

More cultured chill-out from the East London alchemists. [Feb 2012, p.110]

10 ready-made, slightly wonky theme tunes. [May 2013, p.113]

This debut is dip-dyed electronica for the Tumblr generation. [Jun 2013, p.103]

Third album Fake history is a whirl of clattering hardcore, gymnastic screaming and raw-edged, blazing riffs. [Jun 2011, p.114]

Songs such as the Psychedelic Furs-recalling The Second Summer Of Love and the Bowie-like Sell Your Soul show McBean's keener on examining his adolescence in the alternative '80s,, alongside other rock'n'roll mythology. [Jun 2014, p.118]

Takes the first steps towards some sonic nirvana.... But overall, it's still not quite the record you know they could make. [Jul 2004, p.116]