A superb piece of work. [Apr 2002, p.117]

There's no doubting their enthusiasm but it seems Death In Vegas have compiled a list of great cult albums rather than actually making one themselves. [Oct 2002, p.102]

Sounding rusty before even seeing daylight, Deep Down & Dirty is as enticing as those other averagely pleasant 1992 albums currently taking up valuable drawer-space in the back room.

Their voices lock in dense, close harmonies on the likes of Listen, while We Know What It Means is as gorgeous as songs about 3am baby feeding can get. [Sep 2018, p.113]

[The title track] like the rest of this exceptional LP, works fine as one chapter in an elaborate concept opus, but is just as satisfying for those with both feet in reality. [Jul 2013, p.98]

Things go awry soon after ["Nearly Forgot My Broken Heart"], though thanks to a less-than-sparkling production from Brendan O'Brien and Cornell's overly sentimental lyrics. [Nov 2015, p.106]

The sugary 'Fever Dreams' and 'Little Bombs' sound threadbare, while glib homilies would shame the writers of Hallmark cards. [Dec 2007, p.115]

It's when Pentz dials it down that it gets interesting. [Jun 2013, p.101]

It leaves less room for their more usual fluid melodies, though both Nails and Best Friends And Hospital Beds recapture their emotive sensibilities. [Feb 2013, p.104]

You get the feeling even the band think the joke's wearing a bit thin. [Jan 2019, p.106]

The LP's monotonous back half leaves Jackson running to stand still. [Apr 2020, p.111]

Their sixth album has everything you should want from a rock group: riffs, daring ambition, big choruses and a bit with bagpipes in it. [Mar 2013, p.103]

Situatiion finds him returning to his roots, growling out stories like a hip-hop Tom Waits within the framework of an album very loosely inspired by momentous events of 1957, most effectively on the sinuous 'Lipstick.' [Dec 2007, p.112]

This eclectic follow-up finds him embracing the diversity that made Sebadoh so exciting in the '90s.[ Nov 2009, p.101]

Its 18 tracks somewhere between the ghostly dancefloor sway of Fever Ray and modern classical composition. [Jun 2011, p.120]

Fans of Owl City and The Postal Service will relish such good clean fun, quite literally when Dadone warbles, "Don't let the bathwater get too high" on Starring. [Oct 2010, p.107]

The pattern continues, as vocal tracks alternate with instrumentals, building toward the 33-minute title track, an opus that contrives to be both ambitious and aimless. [Oct. 2010, p. 121]

While Maya certainly shows no diminution of sheer sonic ingenuity, it suffers from a shrinking of the spirit. [Aug 2010, p.112]

Adele's songs possess an ageless classification. [Mar 2008, p.105]

The songs struggle to cause any real emotional damage. [Nov 2015, p.108]

Fortunately, the game of spot-the-influences swiftly gives way to more complex pleasures. [Apr 2013, p.113]

Eucalyptus is a carefully constructed illusion of random perceptions, an apparently scattered psyche coming together beautifully. [Aug 2017, p.102]

As ever, the Californian threesome's pervasive wackiness is matched by a breathtaking sense of musicality punctuated by Claypool's manic basslines. [Nov 2017, p.112]

Another French fancy, then, though one likely to appeal only to those with more rarefied tastes. [Jan 2014, p.127]

She does more than enough to establish herself as a contender. [Mar 2011, p.112]

Irresistible. [Feb. 2012 p. 107]

What Kasabian lack in orginality they more than compensate for attitude and exhilarating hysteria. [Jul 2009, p.112]

Largely the results are first-rate. [Jun 2010, p.132]