Not surprisingly, To Dreamers doesn't stray far from what's gone before. [Dec 2010, p.114]

Derivative, but there's artistry and some rattling tunes among the noise and confusion. [March 2012, p.112]

Aided by Pixies producer Gil Norton, they've audibly thrown everything at By Default. [#361, p.107]

As film music the score's consciously unobtrusive. [Apr 2015, p.94]

An exuberant mash-up of all sounds urban. [July 2011, p. 111]

In time-honored fashion it rattles through a dozen tracks in a shade over 30 minutes, never getting close to overstaying its welcome. [Mar 2011, p.116]

The language barrier may prove too much for English-speakers, but the typically sunny, genre-blending production from world-pop maven Manu Chao should win them a place on the summer festival circuit. [Jul 2011, p.111]

It's a hypnotic mid-paced but hard-sounding beast which yields more with each play. [June 2002, p.112]

It's not that Audio, Video, Disco isn't on several occasions, a blast; it's that it's a blast from the past.[Nov. 2011, p. 132]

It's far from perfect, but if this is Exit The Wu-Tang, they can go out with heads held high. [Feb 2015, p.112]

It takes ?uestlove from The Roots to reproduce the kind of smooth, mellow-aged soul that made Green's name. [July 2008, p.102]

Licensed to offend, he's as pumped-up and provocative as ever. [Nov 2008, p.121]

Dead Set On Living is gritty, punk-metal. [May 2012, p.94]

There's an air around The Exodus Suite of something not quite being finished. [#361, p.114]

Fado is a harder sell, a stronger taste. Still, Lina's voice has an irresistible dramatic heft, and combined with the smudgy ambient arrangements, all dark wood and bitter coffee, she and Refree could fill a gap that non-believers might not know they had. [Apr 2020, p.111]

The sound has changed little, and the level of emoting none. Still, thunderous grooves such as Everyone and Shining Star continue to be virtually irresistible, while the quieter moments, including the hit single Shape Of My Heart will wow the ladies and the more sensitive gents for a while yet

Tell Me is produced by The Black Keys' Dan Auerbach, an arrangement that suits her lean, unsentimental alt-country just fine. [Mar 2011, p.116]

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

The bombast is blunted by a lyrical clumsiness, but if you've stopped to analyse them, then you've already missed the point of The Subways' exuberant pep. [Oct 2011, p.130]

Dividing their labour between two vocalists and songwriters does much to keep this second record interesting. [Apr 2020, p.113]

In solution, any song could light up your Saturday night; en masse, they sound like a formula wearing transparently thin. [Nov 2014, p.112]

While not yet distinct enough to escape [Lily] Allen's shadow, as an empathetic soundtrack to similar growing pains Nash's debut hits its mark. [Sep 2007, p.86]

At times it meanders, but their weirdness is quite wonderful. [Nov 2007, p.134]

Barbed but Gregarious. [Dec 2020, p.110]

The lightness of touch is a pleasant surprise, but not as pleasant as the sound of summery Sumner re-engaging. [Nov 2009, p.101]

Though resolutely glum, their debut is alluring in its foggy melancholia. [#361, p.111]

Though never matching the otherworldly brilliance of their first two albums, Moonbuilding 2703 AD does at least find these 50-something space cadets still aiming for the stars. [Aug 2015, p.111]

At times, notably on Honey Bee, Pritchard's lyrics are sugary enough to induce toothache. However, the ever-present feel-good factor makes this an album as impossible to dislike as seeing the sun break through the clouds. [Oct 2018, p.112]