Live On Ten Legs is career-spanning, expertly played, surprisingly spirited resume, with the curveballs of Joe Strummer And The Mescaleros' Arms Aloft and a slightly tweaked version of Public Image Limited's Public Image that misses the point by such a distance it borders on skewed genius. [Mar 2011, p.115]

Their heritage might be clear, but over 10 songs and 22 minutes, their grip on the present never lets up. [Aug 2014, p.115]

Alkaline Trio subvert their perky, zinging three chord mall-punk with misanthropy, melancholy and alcohol-sodden, world-weary wisdom. [Jun 2003, p.92]

Mockingbird Time, the band's first album in eight years, places them right back in the hazy glow of Laurel Canyon sunset. [Oct 2011, p.123]

Traces of other bands can be heard everywhere, from the scuzzy math-rock of Doom (Battles) to the hard-riffing Exit-Only (Jon Spencer) but with vocalist Satomi Matsuzaki ensuring that they never sound quite like anyone else. [Dec 2014, p.108]

It doesn't quite touch the invention of the people who inspired it. [Dec 2012, p.100]

As impressively deep as the music's pile may be, however, it's Marshall's towering voice that most recalls Elbow. [Dec 2012, p.109]

It's a vibrant affair. [Nov 2007, p.138]

This debut has enough catchy cheap thrils. [Dec 2007, p.124]

Only some odd choices of collaborators--like actor Joe Pesci on The Nearness Of You--mars what could have been a beautiful swansong. [May 2017, p.111]

This superior debut from Alberta rapper Roland Pemberton cuts adroitly from Oliver Square's booty shaking electro to the spare funk of Black Hand. [Oct 2007, p.101]

It's a curious detour rather than a sturdy follow-up to 2012's Animal Joy, but as a distillation of all those scattered flyers and setlists, it's a quietly touching piece of memorabilia. [Jan 2014, p.125]

Corey Taylor's side project finds him ditching both the mask and the won't-tidy-my-bedroom ire in favour of more eardrum-friendly grunge redux. [Oct 2010, p.103]

An artist on the verge of a spectacular breakthrough. [Oct 2013, p.107]

Recorded as a tribute to former singer Beau Velasco, who died of a drugs overdose in September 2009, it's clearly a form of catharsis. Mercifully their sense of humour remains intact. [Apr 2011, p.101]

Withering, in all the right ways. [Aug 2020, p.105]

Wolfmother 2.0 are as retro as before, at least there's a refreshing variety to the bludgeoning. [Nov 2009, p.115]

There's a cheesy feel to many tracks but it's good fun, delivered with Chilli's soaring harmonies tempering T-Boz's throaty growl. [Aug 2017, p.112]

Jollett's weighty musing are all but neutered by his determination to cover all musical bases but, as an alt-rock starter-kit, it's just about perfect. [May 2011, p.109]

Newcomers might well benefit from starting nearer the beginning, but this is one space saga that's worth persevering with. [Jun 2010, p.120]

Despite its grandiose title [the album] is actually more concerned with sound than ideas, an experiment which proves more intriguing as a concept than it does as a complete listening experience. [Jun 2012, p.100]

It's heavy-hitting, but the price paid is the loss of the subtle details that made them unique. [Jul 2011, p.111]

Worth spending time with. [Jul 2014, p.110]

For all the tastefully understated harmonies and lush orchestration there are times his beats could use a shot of caffeine. [Jan 2017, p.104]

The fun doesn't always translate to the listener. [Jul 2012, p.113]

At times the meandering is frustrating, while at others the release when a song finally locks into its groove, as on the twisting Lipstick Song, makes the experimentation all worthwhile. [May 2020, p.110]

It's a record that renders previous comparisons obsolete. [Feb 2015, p.105]

Simultaneously melancholy and charming.[March 2012, p.112]