Revolt may not be the sonic revolution Tinley aspires to but reconfirms him as one of UK dance music originals. [Mar 2015, p.103]

While Vance's pipes are impressive--a mix of Van Morrison and John Fogerty--it's his lyrical googlies that hook you in. [#361, p.116]

It's on the final track, Punch, however, that they reach a brand of strung-out, sun-soaked lamentation that feels entirely of their own making. If only there were a little bit more of that elsewhere. [Aug 2017, p.100]

The result is as Russell surely intended. [Dec 2017, p.110]

There's polish here aplenty, yes, but less majesty. [Mar 2018, p.107]

The maestro's arpeggiators show no signs of seizing up, even if there's a touch of melancholia about Tangerine Dream-like opener First Movement and Clean Air. [Aug 2018, p.116]

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

It takes 18 songs before the real Chamillionaire shows up. [Nov 2007, p.126]

The fifth outing as Immersion finds the couple at their most sumptuous. [Summer 2018, p.110]

It reaffirms Mockasin's status as the maddest biscuit in the box. [Nov 2018, p.109]

There's nothing unlistenable... but nothing hugely inspiring, either. [Dec 2003, p.120]

Their vampiric draining of the past cleverly becomes an energizing indie infusion. [Nov. 2011, p. 142]

An album that delivers plenty of thrills, even if the spills are now to be found elsewhere. [Oct 2014, p.104]

Rarely longer than three minutes, Zomby tracks don't make much sense in isolation but the cumulative effect over 80 minutes is moving in ways that are hard to explain. [Jul 2013, p.113]

Tidy enough indie pop, though the glowstick remains unwaved. [Feb 2007, p.99]

Any playfulness surrounding the album's titular pound-shop themes quickly evaporates amid a sound so spacious and tune-free as to border on emptiness. [Feb 2016, p.116]

This lean, adrenal debut fors one better, blurring the boundaries between dance and rock with a flair not seen since Hooky and co plugged in their keyboards in the early '80s. [Feb 2010, p.113]

This follow-up displays an admirable desire for transformation. [Jun 2018, p.111]

Post-punk quartet's first all-new record since 1995. [Feb. 2011, p. 117]

Rather kite-flying itself, Kweller prides shooting the breeze over true direction, but there are enough emotional gusts here to ensure he regularly soars. [Jun 2012, p.106]

It's an enjoyable debut, but a few more surprises like [a saxophone solo in Who Are You] would've helped mix things up. [#361, p.115]

Hologram's monotone new wave reeks of a school band rehearsal, released into the wild before its time and without its signature song. [Aug 2012, p.100]

There's an intimacy to these songs that makes it feel like you're intruding on some private sorrow, but there's no denying their ability to sustain a mood. [Jun 2009, p.117]

You Know Who You Are combines unpretentious lyrics of passing time, loss and the urgency of life with harmony-packed power-pop exuberance, recalling Teenage Fanclub, The dB's or, as on Believe You're Mine, Johnny Marr. [Apr 2016, p.112]

Lytle's melodic warmth provides a protective layer against the heartbreak and horror. [Nov 2012, p.101]

While not yet distinct enough to escape [Lily] Allen's shadow, as an empathetic soundtrack to similar growing pains Nash's debut hits its mark. [Sep 2007, p.86]

White it can still sound like samples waiting to be made into songs, on It's Not Me and Six Pack they reveal a canny knack with almost Motown-esque pop hooks. [Oct 2002, p.107]

The Beastie Boys have always been at their best when gleefully rhyming and stealing from a variety of sources--both musically and lyrically--and the self-imposed adherence to hip hop traditionalism here, and indeed musically on the album as a whole, rather subdues their famously free-form sonic palette. [Jul 2004, p.108]