An instantly loveable collection of sky-punching, new wave pop glory. [May 2005, p.117]

It's very diversity makes it a little impersonal and even arch, but there are strong songs here and a retrospective disc shows there's plenty more where they came from. [Jan 2013, p.102]

The Growlers might just be on to something here. [May 2013, p.101]

His songs are funny clever, rather than funny ha-ha, making Dad Country a serious business. [Jul 2013, p.105]

Season Sun aims to evoke the spirit of travel using the same dream-pop template as The Soundcarriers. Only occasionally, however, do they achieve it. [Sep 2014, p.109]

More a holding album than a great step up. [Aug 2015, p.111]

The results range from extraordinary to bemused but they are never dull. [Summer 2019, p.111]

A pretty but very conventional collection of love song. [Sep 2019, p.112]

It's an impressive return. [Sep 2019, p.111]

A little more thematic variation would be welcome, but there are worse soundtracks to the chaos of the new decade. [Apr 2020, p.114]

There's... plenty for the merely curious to enjoy. [Aug 2005, p.142]

The airy-fairy aggression sometimes misses the mark. [Oct 2012, p.112]

This is a record of towering acoustic-based songwriting. [Sep 2005, p.114]

Many of [the debut's] ragged edges have been smoothed out, and in the process some of The Zutons' collective personality has gone. [May 2006, p.122]

An intriguing, if not quite essential, addition to the Maus canon. [Jul 2018, p.115]

Get cherry-picking. [Oct 2013, p.116]

At The Drive-In's astringent, scouring return doesn't feel so much like a blast from the past, as one aimed right at the heart of the present. [Jun 2017, p.108]

The problem lies in Conn himself, a mannered vocalist whose lyrics aren't as funny or provocative as he thinks. [Mar 2007, p.111]

Into The Diamond Sun takes a fistful of seemingly incongruous influences and hammers them into something akin to pop music. [Oct 2012, p.111]

There's an Iberian undertow to the gorgeous You Sigh and the upbeat Answers. Yet, when he goes for beauty, he strikes gold and propelled by an earworm melody, Lights Out distills all that's right about Cunningham. [Mar 2017, p.107]

This is Madonna on top of the world, looking down on creation, God complex at cruising attitude. [Summer 2019, p.110]

While these 12 tracks occasionally meld into one [an]other a little too easily, there are many moments of promise. [Jul 2018, p.111]

Halfway through, though, Gonzalez's self-indulgence gets the better of him and you're left with half-baked ideas and little else. [June 2008, p.145]

Its surreal mix of chamber-pop, electro-funk and avant-garde noise is well executed, but it's so scatter shot, that, ultimately, it frustrates. [Nov 2007, p.137]

In a world where Interpol already exist, it's hard to get too excited about the twitchy Anglophilia here. [Dec 2004, p.136]

There's little here that lingers. [Jun 2005, p.111]

It's what Spiritualized might sound like before Jason Pierce sprinkles his gospel fairy dust on them. [Oct 2010, p.104]

You could forgive the incoherence if every song punched its weight, but too often design-by-committee dilutes rather than enhances individual strengths, producing generic electro-pop filler. [Oct 2010, p.106]