The result is at once fluid and fractured, with a restless experimental edge that never quite allows the beat to settle into anything approaching a predictable pattern. [Sep 2011, p.104]

The surreal stoner wit of vintage Little feat is still missed, but this is perfectly respectable business as usual. [Sep 2012, p105]

Although none of the newcomers quite supply the killer touch, the flow of soft-rock shimmies and cowbell-driven R&B lives up to the guestlist's promise. [Dec 2005, p.156]

The songs here are a familiar mix of wry life observations and clever covers. [Nov 2012, p.96]

Alive As You Are is a harmony-packed, relaxed affair, reminiscent of mid-period Byrds and Tom Petty, with the influence of The Beatles often hovering near. [Sept. 2010, p. 114]

The State Of Things confirms RATM will be following the Arctic Monkeys down the MI and onto the nation's radios for sometime yet. [Nov 2007, p.145]

More variety is needed and it's all been done before, but rarely with such a sense of fun. [Apr 2008, p.108]

The shine wears off before the final, 14th, song. But it's fun until then. [May 2018, p.111]

Glistening, handcrafted pop. [April 2012, p.106]

Well-connected New Jerseyite's fifth solo album. [March 2011, p. 117]

It's the way Margo Timmins' distinctive, kohl-eyed delivery melts into Notes Falling Slow's funereal throb that remains the band's USP. [Jul 2004, p.113]

In all that attention to detail, there's flair and fire enough to quash the qualms and revel in people doing something over and doing it right. [Sep 2012, p.97]

They make a decent stab at it. But with such an overfamiliar sound, it smacks too much of the World Cup exit montage. [Oct 2011, p.117]

At times, Leaneagh and Ryan Olson, her co-conspirator, glance off power-balladry, but when they ditch the linear, Poliça find their true form. [Mar 2020, p.119]

Attention Deficit Domination goes straight for the doom-rock jugular. [Jan 2012, p.120]

Rodriguez digs deeper into rave and party culture here. [Jun 2020, p.97]

While some of it is great, much of Francis Trouble chugs amiably along without really sinking its teeth in. [May 2018, p.111]

As Desolation Sounds progresses, so the mood becomes more considered and expansive. [May 2015, p.105]

A Thousand Heys plays so much like the product of a band wigging out in a garage you can almost smell the Castrol GTX. [Jun 2011, p.119]

An album largely split between moments of hushed intimacy and gonzoid rocksers that tend to pitch themselves between The Replacements, Tom Petty and -- presumably unwittingly -- U2 circa War. [Oct 2002, p.101]

Fearless strides forth from Neil's number one son. [Aug. 2011, p. 119]

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

Its delicately observed song cycle unfolds like a novella or short film, with tracks that might seem slight isolation gaining resonance in situ. [Dec 2015, p.108]

He's turned his back on electro flourishes in favour of a melodic approach... It works. [Dec. 2001 p. 126]

It's packed with clever songwriting, wry observations and occasional Leonard Cohen-esque dark foreboding. [Jan 2012, p.120]

Functional but fun. [May 2010, p.122]

Mount Moriah give the Southern tradition an indie-rock twist that's more effective the further they go. [Apr 2013, p.107]

Drone metal linchpin, with guest Kurt Cobain. [Jan. 2011, p. 150]