A short and sharp, but ultimately shockless, album that would have benefited from changing its tune once in a while. [Feb 2009, p.112]

The sheer speed can be exhilarating, but changes of pace... are disappointingly few and far between. [Nov 2006, p.149]

Black Rainbows is the right album at the right moment. With its rich, layered sound and its hugely enjoyable preening, it is unashamedly Suede-esque. [Nov. 2011, p. 127]

Their second album...doesn't quite venture out into shark-infested experimental waters but it does prove that there's more to The Drums than fishy pastiche. [Oct 2011, p.113]

There's something ageless about these songs that make them art-school tasteful rather than genuinely unsettling. [Oct 2011, p.112]

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]

Too often the reworkings of the songs are either not different enough, or ... just plain boring. [May 2012, p.91]

The sound of an artistic slump coming to an end. [Dec 2017, p.107]

By definition, it's a water treader and there's nothing surprising. [May 2011, p.124]

Raposa's songs are often just a little too aimless. [Dec 2008, p.126]

The two 40-minute "acts" open with cinematic flair, building from atmospheric, Mark Lanegan-assisted opener Requiem (When You Talk Of love) to the Massive Attack-like turbulence of Nothing To Give. The second act proves less assured. [May 2019, p.116]

This 11th album refines their sound and gives it a modern productive tweak. [Oct 2010, p.112]

Godrich's production gives the album exquisite depth but also smothers its soul. [Dec 2012, p.114]

It is both slick and accomplished. [Oct 2011, p.120]

The Amazons are much better when they add a little intricacy to their snarling rock. [Jul 2017, p.110]

Amazingly Brain Thrust Mastery manages to be both calculating and emotional in the same breath. [Apr 2008, p.117]

A follow-up that's both more consistent and more predictable. [Sep 2013, p.104]

With his piano-playing accompanied by Daniel Joseph Dorff's drumming, the arrangements are minimal affairs, placing Moore's voice centre stage and allowing the songs to breathe. [Mar 2011, p.112]

Graffiti On The Train is a powerful attempt to drop their meat-and-potatoes image. It doesn't always work, but it's to be applauded. [Apr 2013, p.110]

This compilation of remixes doesn't find too many revelatory portals in St. Vincent's fifth album Masseducation, but there are moments that know just how to push open the wormholes in Annie Clark's flexible, fluid music. [Feb 2020, p.116]

Beautiful Future isn't quite as onsistent as it could be. [Aug 2008, p.138]

A commanding return. [Nov 2005, p.131]

Yucca is pure pop primitivism that's all distorted vocals and fuzzy guitar swirls, just like The Jesus And Mary Chain never happened. [Aug 2011, p.126]

There is a whiff of leftovers to You Don't know Anything's six songs. [Feb 2014, p.120]

The lack of an absolutely killer song and an aversion to hooks may yet derail them, but there's hope to spare. [Jun 2014, p.122]

There's a compelling quality to mainman's Dave Simmonett's lonesome laments that ensures the attention rarely wavers. [Sep 2014, p.115]

It often feels a little formulaic, but, boy do they have that formula down to a fine art. [Nov 2016, p.107]

Their sky-scraping melodies may not enjoy the same reverence and ubiquity as, say, The Smiths' catalogue but these rearrangements are magical. [Nov 2018, p.105]