In The Lonely Hour starts promisingly.... The second half declines into self-pity, windy balladry and squeaky-strings-as-authenticity cliche. [Aug 2014, p.110]

But for some off-key warbling, they might have slapped some crowd noise over the fantastically bonkers original. [May 2011, p.115]

Thoughtfully conceived and carefully executed, it's a record worth braving. [Dec 2012, p.122]

More than ever, they can be summed up by the epithet "The Brand New Heavies, only a bit more hip hop", peddling a soft kind of soul that fuses old-school influences with feelgood philosophy of the "believe in yourself" variety.

A remarkable record. [Feb 2003, p.96]

They've delivered their weakest set of songs to date. [Oct 2007, p.98]

[She] sticks to the formula of soft-spoken polemical raps and gritty lo-fi beats. [Mar 2012, p. 97]

As unique as ever. [Jun 2003, p.102]

For the most part, this band still sounds grounded by an emo rulebook long since torn up. [Sep 2004, p.123]

But for all the acerbic intelligence at play, the pretentious delivery makes this self-satisfied project hard to embrace. [Dec 2004, p.134]

Orb nostalgists will find much to savour. [Mar 2008, p.108]

Wild Things is as likeable as it is cutting edge. [Aug 2016, p.113]

Cod-reggae and sunny R&B are the order of the day here, which as beach bar background music would no doubt suffice. But unless Stone is content with coasting she needs a serious rethink. [Aug 2015, p.112]

The idea of crossing over is approached like somebody running onto a motorway wearing a blindfold. [Mar 2012, p.111]

She sounds more engaged than she has in years. Not the disgrace it could have been. [July 2011, p. 117]

Pleasant, but it's never particularly special. [Jul 2005, p.120]

Free Somehow has its moments, but as ever, there's something missing. [May 2008, p.141]

12 songs of charming inconsequence that briefly make the world a slightly better place. [Mar 2009, p.105]

A limited vocalist,... he's a far better pianist and arranger. [May 2003, p.104]

It's not all bad, though, as the album possesses a killer repertoire of filthy bass lines and an undeniable pedal-to-the-metal verve. [Aug 2003, p.116]

When songs hit their mark, his latest incarnation squares up impressively to his Stateside heroes. [Dec 2002, p.97]

Barrera's vocals lack the sneer to carry the heavier moments, and a couple of songs are little more than lame US rock-lite. [Oct 2003, p.106]

None of their new album will be remembered in a few years' time. Yet, like most fast food, there's very little wrong with it right now. [Dec 2003, p.130]

Mostly, it's tight but standard. [Jan 2004, p.114]

Up front, Island is punk-pop par excellence, while, toward the end, Dorian's a blissful medium pacer about carefree journey home. [Jul 2015, p.114]

Entertaining in the same way as an episode of Joey: pretty dumb, fairly funny, and you're glad it's over in under half an hour. [Feb 2006, p.100]

Exuding vague disquiet rather than outright despair, the self-produced DRaw The Line freshens up the formula just enough to keep things interesting. [Oct 2009, p.108]

It's heroically earnest and not a little preposterous, but the singer's charisma carries it over the line. [Oct 2018, p.112]