It's great, with well-judged strings and horns giving full rein to some marvellously acute lyrics.... A glorious return. [Oct 2002, p.117]

Pippen's lush tones are again a good foil for Defever's haunting music. [Oct 2002, p.109]

The nine songs retain an insular, slept-in charm, with the same Californian Nick Drake brief as Mojave 3.

Together We're Heavy's transcendent qualities grow as it flows onward, and the sheer musical ambition of the Spree's pet sound finally, really defies cynicism. [Aug 2004, p.116]

Like most blockbusters, the script is predictable - topics include no-good men, being hard and how great Eve is - but this is designed for booming out of car stereos rather than close listening.

Fulfill[s] glam's promise of tasty geezers in make-up playing shrill, sleazy punk sounds. [Jul 2004, p.121]

Sadly, there's also a depressing quantity of mush and devotion, totally at odds with his grinding best. [Sep 2001, p.122]

The Five Ghosts deserves to chaperone them to greater things. [Sep 2010, p.121]

OHMME add depth to the harmonies on seven of the 10 songs and the overall sense is of five people as excited by playing together as they were at their first rehearsal nine years ago. [Oct 2019, p.114]

At times it's gently dreamlike and beautiful, but its ethereal ambitions often feel like a lack of focus rather than a statement of intent. [Feb. 2012 p. 111]

Short on visceral thrills, but long on soul and dexterity. [May 2019, p.108]

On a concept album about felleing sad and lonely in clubland, and the instrumental flash is balanced out by forlorn lyrics. [Oct 2008, p.149]

The record's strongest, strangest moments come, however, when he lets himself go. [Aug 2014, p.100]

The trip's less balls-on this time. [Jan 2017, p.112]

As the sound of a band revelling in what they do best, it makes for an album that's up there with their most purely enjoyable. [Aug 2017, p.105]

Rarely has he sounded so consistently vulnerable. It suits him. [Nov 2017, p.107]

Telepathe appear devoted to doing something utterly different, which cannot help but be exciting. [Feb 2009, p.116]

A delightfully different gang of fuzzy funk rapscallions. A solution worth soluting. [Jun 2010, p.118]

The World Is Yours is the usual drill: fast, frenetic and very, very loud, with Lemmy belching his messages of defiance and rock'n'roll redemption like a raging, fire and brimstone preacher. Who would want it any other way? [Feb. 2011, p. 124]

A true one-off, you're either a believer or you're not. [Jun 2014, p.106]

Exists in the blurry middle ground that separates provocative experimental art from utter nonsense. [Nov 2004, p.130]

Previous music shine through while new material inevitable has the scrappiness of work assembled posthumously with Peep's childlike drawl sprawling over markedly lighter beats than the dark pop-punk rap he coined. [Feb 2020, p.112]

The rest of King Animal struggles to match "Been Away Too Long" for musical flair or raw energy. [Dec 2012, p.113]

It's pastiche, certainly, but of a pleasingly arresting kind. [Jul 2009, p.118]

In short, a welcome retelling. [Oct 2018, p.116]

Admittedly, there's a lack of shock here, but plenty of awe. [Mar 2014, p.119]

It's a powerful formula, but one the band perfected with their 2002 album Oceanic. [Dec 2006, p.141]

No great leap forward. [Jul 2006, p.113]