Not a wholly convincing return. [May 2005, p.110]

Differs markedly from 2003's Radio Blackout... with vocals and punk-pop structures replacing the glam-tecnho clunk of yore. [Sep 2005, p.120]

This follow-up is a return to the dullsville rock of old. [May 2013, p.99]

There's no sense that there's any real passion. [Mar 2005, p.99]

Not for everyone. [Jun 2005, p.120]

For the most part, he keeps it all on the ingenious side of ridiculous. [Aug 2004, p.121]

Perfectly pleasant, but with none of the edge that might mark them as another Arcade Fire. [Oct 2005, p.117]

A lot of the goofy teenage kicks have been replaced with more tiresome sex raps. [Sep 2005, p.115]

While there's no doubt that listening to the Super Furries' seventh album is mostly a pleasure, there are moments when it feels like a little less relaxation might have paid off. [Sep 2005, p.116]

Maybe if they had calmed down a bit, Crazy Itch Radio wouldn't be Basement Jaxx's fourth best album. [Oct 2006, p.126]

It takes 18 songs before the real Chamillionaire shows up. [Nov 2007, p.126]

In spite of some good songs... the band's urge to be monumental at the expense of their vulnerability is ill-advised. [Oct 2004, p.122]

There's too much instrumental cleverness to get to grips with the theme. [Nov 2004, p.118]

Bad Blood feels strangely anemic.[Apr 2013, p.95]

At her best, on the eerie 'Every Path,' she's mesmeric enough to lure ships onto rocks, but come the inevitable 'Later...With Jools Holland' appearance, older viewers may be forgiven for thinking Dolores O'Riordan has changed dramatically. [Mar 2009, p.96]

Their full-length debut doesn't quite justify its lengthy gestation period, being a frustratingly patchy affair with a handful of simply sublime melodic synth-pop numbers. [Apr 2009, p.110]

The synthesised tropical shimmers, buzzings of insects and blat of helicopter blades largely lack the momentum to sustain interest outside the cinema. [Jul 2002, p.112]

Beautifully written, played and sung, but just once it would be nice to hear a bit of distortion, a fluffed note and some real soul. [Jun 2004, p.96]

There's commendable variety among these 17 tracks, but little that rises above the mediocre. [Oct 2007, p.98]

It's pretty--but also pretty pointless. [Oct 2013, p.113]

Seeker Lover Keeper is frequently less than the sum of its parts. [May 2012, p.105]

It's all wonderfully sensual, only there's no passion or intensity. [Feb 2004, p.105]

While the bulk of Johnny Bramwell's songwriting attempts to match the gothic fairground swirl of their new sound, the best tracks... remain the most straightforward and acoustic. [May 2005, p.112]

Reggae-rap soundclash fails to catch fire. [July 2010, p. 136]

Mark appears disarmingly buoyant, his lyrics so humdrum that it's hard to take his pain entirely seriously. [Apr 2007, p.120]

A disappointing lack of originality on an album that is all too clearly in thrall to The Libertines and all their many acolytes. [Jan 2009, p.120]

Fans will crave more drones and dreaminess (Deep War and Lioness (Requium) are half-hearted attempts) and newcomers less stoner arrogance. [May 2012, p.106]

Even the Sharks and the Jets might find ARE Weapons' street hassle a touch quaint. [May 2003, p.98]