A real disappointment. [Apr 2004, p.118]

Lostprophets inhabit that old-fashioned place where the young are alright and must overcome the cynicism of the jaded oldster at all costs. [Feb 2004, p.104]

[The songs are] bereft of the joy and pain that made her name. [Oct 2004, p.128]

Shows he still has few peers when whipping up a likeable mix of energy, melody and glistening harmonies. [May 2005, p.117]

An album largely split between moments of hushed intimacy and gonzoid rocksers that tend to pitch themselves between The Replacements, Tom Petty and -- presumably unwittingly -- U2 circa War. [Oct 2002, p.101]

A set of forward-thinking pop reminiscent of Sign O' The Times-era Prince. [Oct 2006, p.115]

Off With Their Heads affirms the undying pleasures of smart, catchy pop music does well. [Oct 2008, p.137]

A mixed bag. [Apr 2007, p.117]

There's little spark, despite her admirable willingness to take chances. [Nov 3007, p.147]

Scialfa has surrendered and retreated into singer-songwriter orthodoxy, despite the appealing doo-wop backing vocals of 'Like Any Woman Would' and the lyrical twists of 'Black Ladder.' [Oct 2007, p.105]

This is an assured solo debut from the MC. [Oct 2009, p.111]

Rizzle Kicks are a pop prospect with a winning charm you just can't teach. [Dec. 2011 p. 137]

A rather lovely bedtime listen. [Jan 2013, p.101]

It strips away their epic rock to reveal something more direct and emotionally satisfying. [Dec 2015, p.115]

His first LP of originals since the '80s is thrillingly belligerent, bassist Norman Watt-Roy and drummer Dylan Howe supplying a muscular foundation to Johnson's machete guitar, a combination more than compensating for the star's lack of vocal prowess. [Summer 2018, p.110]

If, after a while, it just hangs there like a low mist, Noctunes is still a thing of impressive substance made by a very striking somebody. [Oct 2015, p.102]

With Valhalla Dancehall, it's time to laud British Sea Power for attaining greatness strictly on their own terms. [Feb. 2011, p. 116]

Fans of Prefab Sprout, The Go-Betweens and Saint Etienne could do a lot worse than give their cerebral Canadian counterparts a go. [Jan 2013, p.110]

While there are some fine original songs, it's Harvey's choice of covers and collaborations that are most telling. [Jun 2013, p.98]

At times, it's a frustrating, self-absorbing listen. [Oct 2014, p.110]

It's a record that manages to find hope among the uncertainties. [Jan 2018, p.113]

It's wilfully rough around the edges. [Summer 2020, p.101]

Monuments is an enjoyably straightforward rock album. [Jan 2015, p.128]

Harmless fun. [Nov 2006, p.149]

Their 11th LP will remind newcomers of Metallica's buffed-up chugga-chugga, but also, a trifle disappointingly, of late-era Iron Maiden's blanded-out chest-beating anthemics. [Apr 2016, p.101]

While it doesn't always hit its mark, people after some cartoon-rock fun with great tunes will find this their most consistently satisfying set of songs since 2009's West Ryder Pauper Lunatic Asylum. [Jun 2017, p.100]

As always, Scott overdoes it--and frequently--but when Modern Blues is good, it's very good indeed. [Feb 2015, p.117]

Zeroes QC bristles with ideas, assimilating elements of Krautrock, electronica and post-punk to dazzling effect. [Feb 2011, p.124]