Kings of Leon needed to make a very specific sounding type of album in order to seize their moment, and that they have done, entirely successfully. [Oct 2008, p.134]

Its supulchral riffs, histrionic vocals and ludicrous lyrics are all comfortingly familiar. Something unexpected wouldn't have gone amiss, mind. [Jul 2009, p.117]

The unruly palette endures throughout, with dirges, ersatz country and cracked pop variously suggesting Clinic, Throbbing Gristle and Blackpool cults Ceramic Hobs. Lyrically, trigger warnings may be necessary. [Feb 2016, p.110]

It's the heart of the matter, and the song that sets the bar. [Oct 2011, p.122]

Locates her coffee-cream vocals amid glossy settings ranging from hip hop to gurgling electronica and folk. [Nov 2002, p.105]

At its worst, it comes across as parody of one of Primal Scream's cod-Stones missteps. Only once do they drop the Southern shtick. [Dec 2013, p.102]

Perhaps not something you'd put on to get the party started, Yung Lean has though nailed the comedown. [Jan 2018, p.114]

A diverting synthesis of analogue old-schoolery and modern genre-hopping. [Nov 2004, p.117]

It's only on a frazzled but euphoric Raise Your Head that DeLaughter achieves the sonic rapture the Spree promised from the outset. [Oct 2013, p.109]

There is, too, much, that is pretty and whimsical, but less substantial. Another accomplished set, but the real Fyfe Dangerfield should stand up. [Mar 2010, p.98]

The jarring throb of HIQS aside, it's an album of subtle charm that rewards repeated listening. [Mar 2013, p.95]

Full of blissful harmonies that glide by one after another. [Mar 2006, p.107]

While his big, piano-led MOR tunes are launched from a good place, they land in a fairly awful one. [Apr 2009, p.105]

They've lost some of their endearing quirks en route, the songs often slipping into a tuneless mess reminiscent of early-'90s experimentalists Truman's Water at their most challenging. [Jul 2011, p.111]

Distinct high and lows are lacking, the songs blurring like a long night, but Green remains a mistress of her mood. [May 2014, p.110]

While opener C'est La Vie's French title is as experimental as it gets, there's still plenty to savour. [Oct 2015, p.114]

There's a cheesy feel to many tracks but it's good fun, delivered with Chilli's soaring harmonies tempering T-Boz's throaty growl. [Aug 2017, p.112]

Not song-based, the album relies on mood... making its impact in a similar, slightly less accomplished manner to Brian Eno's early ambient experiments. [Feb 2007, p.102]

There's no denying that CSS have grown in songwriting flair and musical sophistication. Unfortunately, this seems to have come at the expense of raw energy and quirky character. [Aug 2008, p.133]

A fine souvenir of DiFranco's recent jazzy excursions. [May 2003, p.102]

Immersion certainly contains its share of crossover anthems--not to mention some palette-expanding diversions into dubstep and progressive trance territories--but they'll be better appreciated in a festival field than the front room. [Jul 2010, p.135]

The duo deliver traditional virtues and a familiar Yuletide ambiance here. [Jan 2012, p.124]

When Allien adds a taste of techno's rhythmic grunt, some focus is briefly achieved, but unfortunately it happens all too briefly. [Apr 2013, p.94]

It's a tangled combination, but if you've got the patience it's worth trying to unpick. [May 2013, p.101]

Though wildly hit and miss, Keep Your Dream, is never more fun than when going completely over the top. [Feb 2012, p.110]

Radiohead refused to take part, but everyone else has embraced the idea, albeit with predictably mixed results. [Nov 2013, p.107]

FILA is not his monumental debut, Only Built 4 Cuban Linx, but it maintains the revival in form that began with its 2009 sequel. [Jun 2015, p.111]

The definition of a mixed bag. [Nov 2018, p.109]