[Falls] between the arch electronic vistas of later Magazine and skewed, Giorgio Moroder-esque avant-pop. [Feb 2002, p.114]

Rather like Red Hot Chili Pepper John Frusciante's solo work, Malone pootles around the margins of commerciality, nodding to the avant mischief of Buthole Surfers and engaging folksy clatter of Devandra Banhart, while on Driftwood Heart the vocals are almost oepratic. [Dec 2009, p. 120]

Epton On Broadway Part 1, delivers elastic electro-funk with a knowing Italo-inspired wink. It's a winning formula they never stray far from. [Aug 2019, p.112]

Acceptable but never stellar. [Dec 2003, p.121]

Mostly Born In the Echoes is a blast. It's just that sometimes it's a blast from the past. [Aug 2015, p.108]

A glossy production makes for ear candy, but it's bereft of edge. [Feb 2005, p.102]

Fulfill[s] glam's promise of tasty geezers in make-up playing shrill, sleazy punk sounds. [Jul 2004, p.121]

It consistently fails to match their parent group's most sublime moments. [Sep 2012, p.110]

His high, thin voice won't grab everyone, but will generate a gentle glow for many. [May 2007, p.125]

Rice is much more appealing when he blatantly ramps up the theatre, sticks a bit of greasepaint over his sincerity, tips irreversibly into show business. [Dec 2014, p.114]

While the songs remain wonderful, Mr. Blue Sky feels like Lynne righting imaginary wrongs. [Dec 2012, p.111]

Ambitious and crackling with smart riffs, the end result achieves a brooding intensity all of its own. [Apr 2011, p.111]

His experiments works best when anchored to a solid rhythm. [Jun 2015, p.102]

There's a calculation to much of what's on offer here that undercuts all the other advancements. [#361, p.116]

It's still unclear, for all the charm and enthusiasm, exactly what might mark them out, make them a cause, a rally call. For now, though, Young Chasers is just enough to keep them out in front. [Apr 2015, p.103]

Charming, if slight.

OHMME add depth to the harmonies on seven of the 10 songs and the overall sense is of five people as excited by playing together as they were at their first rehearsal nine years ago. [Oct 2019, p.114]

While lacking the high-concept drama of the similarly-minded Rammstein, KMFDM are more sonically adventurous: drum'n'bass and digital dancehall spice up the usual murderously heavy riffing. [May 2002, p.115]

It's an occasional return to their punk roots, more often smoothed over by the glistening pop production they've been known for more recently. [Nov 2019, p.116]

He certainly pushes the right commercial buttons. [Mar 2006, p.108]

Free of the shackles that hobbled his debut, Styles manages to show more of his personality here, especially on the Vampire Weekend-style Sunflower, Vol. 6. It's just a shame he can't quite keep up with his ambition. [Feb 2020, p.110]

While Bloc Party Mk II don't quite reach the dizzying heights of hits such as Banquet or Flux, Hymns restores your faith in both their ability and ambition. [Feb 2016, p.114]

Imagine the anarcho-grime of Fat White Family coalescing with a tripped-out Thee Oh Sees--then peel slowly and see. [Apr 2017, p.112]

If this album is a mixed bag for West the producer, then it's a nadir for West the lyricist. [Jan 2009, p.114]

Muddy production means the literate lyrics often get drowned out by the surrounding racket, but otherwise this is a raw treat. [Mar 2009, p.105]

Only the very dedicated need apply. [Jun 2009, p.119]

Though consistently strong, in the absence of dancers or plot it's hard to make sense of this subtle album's jolting transitions between subtle mood pieces and bombastic orchestral techno. [Apr 2011, p.106]

Bounce is the sound of a group who know what they're good at and why. [Nov 2002, p.97]