It's that sense of doing just enough but no more that permeates this album, at times rendering it laid back to the point of disengaged.

Twista's overshadowed by West, but with jacked-up soul tunes such as Overnight Celebrity the result, who cares?

They make a noise disquietingly similar to The Dandy Warhols, only without the wit or the tunes. [Apr 2003, p.114]

Compelling stuff. [Jun 2011, p.120]

Harmless fluff. [Nov 2008, p.114]

An ambitious and surprisingly accomplished album. [May 2004, p.104]

At only 37 minutes long, it never outstays its welcome. [May 2013, p.99]

In stepping out of their comfort zone and trading in their previous identity, it seems Travis haven't yet decided who or what they now want to be. [Oct 2008, p.144]

Their self-indulgent scrawl is writ so large it would be impossibly cloying when if it were all as good. Which it isn't, not by a long shot. [Jan 2016, p.109]

There's a definite vim here; all they need to do now is to add in a little more of their own DNA. [Apr 2014, p.119]

He remains, ultimately, doom-laden. [Nov 2004, p.125]

The absence of a monstrous lead track, though, suggests the appeal will remain selective. [Apr 2011, p.110]

There is talent here. If only it could've been matched to a few more original ideas. [Aug 2012, p.105]

Guerolito's songs dissolve in an anonymous stream of chugging electro and dub effects. [Feb 2006, p.101]

An album that should have seen Flynn take a step closer to Messrs Marling and Mumford has, sadly, been moulded into a bit of a snoozefest. [Nov 2013, p.102]

Drifts past pleasantly enough, but fails to make an impact. [Feb. 2012, p.101]

Bipolar Texan tunesmith Daniel Johnston will never be more than an acquired taste. [Dec 2009, p. 126]

At first it's almost intriguing, then alienating, then irritating; ultimately you're reminded why you never really listened to Animal Collective until they discovered the joys of a good tune. [Sep 2012, p.100]

There is kitsch charm throughout. [Nov 2014, p.112]

'Midnight's' gut-wrenching sight of an ex not leaving a party alone is a case in point, but any of one of these 10 tracks is equally illuustrative. [Mar 2009, p.93]

A daydream of a record, one well worth drifting off into. [Aug 2012, p.115]

It's less direct than before, but still strangely, powerfully beautiful. [Jan 2013, p.103]

You can hear where the money went, even if her voice is far from the soaring force of yore. [Nov 2009, p.114]

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

Less fixatedly house-centric than before, I'm Leaving incorporates fuzzy dance-rock under the influence of girl groups and New Order. [Jul 2013, p.106]

[Neil Arthur] is still in strong voice, his spare, pop-savvy synths tracks are a fitting canvas for his absurdist, trenchant narratives. [Apr 2015, p.97]

[Clinic] has misplaced the groove and settled for a rut. [Sep 2004, p.117]

This slick set taps the same pop bounce of 2004's "Calling Out."