Despite its avowed politics, it lacks firm presence or real weight. [Apr 2017, p.112]

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

Explores the furthest reaches of what its creators have christened "junk-shop glam." [May 2019, p.119]

Ultimately, this is a fun record by a fun band. Not a bad thing by any means, but a little more salt in the soup would have been welcome. [May 2016, p.117]

This outing's a little harder to love than its predecessor, but the highlights are definitely worth the wait. [May 2016, p.106]

Short on visceral thrills, but long on soul and dexterity. [May 2019, p.108]

At her best she's thrilling and her hits with Timbaland, 'The Way I Are' and 'Scream,' still cackle brilliantly, but at 70 minutes there's too much flab and the ballads drag horribly. [Jul 2009, p.124]

The band make a powerful case for letting it all hang out. [Aug 2017, p.103]

The result was a record stranded between the two [mainstream or underground cool], hummable, but too quirky to cross over. [Nov 2009, p.101]

Happily thieir mellowness is balanced by musical variety, from Snow Canyon's hint of Emmylou Harrris country to Forever Me, which is pure Bjork-ish torch song indie. [Mar 2010, p.111]

Still Life rarely strays out of the comfort zone. [#361, p.117]

Despite the pluming black-metal geyser of Death Drop, it doesn't have the evil heft of 2017 predecessor World Eater. [Sep 2019, p.108]

A return to heavy, complex and vicious riffing, though Sam Carter's sporadically tuneful vocals still offer respite. [Jun 2012, p.100]

Oddly compelling, even if the coldwave atmosphere seldom rises above freezing-point. [Aug 2013, p.101]

Things go awry in places... but somewhere in a parallel universe Molly Ringwald is running down a high school corridor to the sound of The Killers. [Jul 2004, p.116]

He mostly rises to the occasion. What the vocals lack in beauty, they make up in expressiveness. [Mar 2015, p.112]

Booming basslines, clubby beats, high production values and a guest list that includes Brazil's Seu Jorge, sitar lady Anushka Shankar and Afrobear star Femi Kuti make it a safe backdrop for just about any bar anywhere in the world. [Nov 2008, p.121]

Distortland continues Taylor's more ruminative songwriting. [May 2016, p.107]

It's not all politico-provocation; pretty duet Honeysuckle and minimalist piano ballad The Oldness counterbalance the more outspoken moments nicely. [April 2012, p.107]

A record that lurks around the same eerie corners as Dead Can dance, or White Chalk-era PJ Harvey. [Summer 2019, p.112]

The won't slay any kings without more killer choruses. [Apr 2013, p.111]

THe jazzy stylings are a mixed blessing... [but] her fans will not be disappointed. [Mar 2003, p.101]

His second solo effort succeeds largely because its titular novelty never overshadows the bittersweet folk vignettes, driven by his affecting baritone. [Jul 2011, p.119]

Tomorrow's Harvest delivers oceans of spare, mellow and melodic electronica, but what it doesn't offer is much in the way of surprises. [Aug 2013, p.98]

If you dance easily at weddings then this album is very good news. [Aug 2005, p.129]

It can get a bit overly conceptual, but Gone Now is so irresistibly joyful that it can be forgiven. [Aug 2017, p.100]

Once upon a time rock'n'roll was all about the sex you really shouldn't have. The Kills haven't forgotten. [Apr 2003, p.108]

Compelling stuff. [Jun 2011, p.120]