Mostly, it's just not interesting enough to hold the listener's attention throughout. [Aug 2008, p.139]

Fray's acute sense of geography, both local and emotional, guides the band's hectically directionless indie rattle down some alluring paths. [May 2008, p.137]

Those seeking the key to The Script's success will remain puzzled. [October 2010, p. 113]

Now reunited--minus Ibold--they are unlikely to win over many fans with this. [Aug 2008, p.135]

This debut is dip-dyed electronica for the Tumblr generation. [Jun 2013, p.103]

This follow-up's newfound glossy production sheen suggests that is the intention [to move toward the mainstream]--but the creativity within is far from diluted. [Apr 2008, p.109]

Strangeland isn't much of a diversion from their fame-bringing formula. [Jun 2012, p.105]

The actual effect... is closer to a whinier Duran Duran, with even their slapped bass-driven grooves hobbled by the paper-thin production. [Apr 2005, p.124]

It's far from perfect, but if this is Exit The Wu-Tang, they can go out with heads held high. [Feb 2015, p.112]

In parts, [the album] is certainly worth it. [Jan 2013, p.113]

A nagging sense of coming late to chillwave's super-saturated afterparty. [Oct 2014, p.110]

In solution, any song could light up your Saturday night; en masse, they sound like a formula wearing transparently thin. [Nov 2014, p.112]

How much you enjoy it will depend on how you feel about largely structureless sonics, but if you just submerge yourself into it, there's plenty to discover. [Oct 2018, p.108]

The sound may gain more traction in a post-Mark Ronson world than his previous electro-based efforts. If only Tillmann didn't have to excise the fun to achieve it. [Jun 2013, p.98]

Alexis Taylor teams up with Spiritualized guitarist John Coxon and Charles Hayward, drummer with post-punk originals This Heat, for a charming diversion that draws freely on '70s jazz, Southern rhythm-and-blues and vintage synths. [Jun 2011, p.107]

It's fun for sure but perhaps not quite the game-changer everyone--or, at least, the band themselves--was hoping for. [Jul 2014, p.112]

Occasionally they stumble upon something magical... but they only highlight the paucity of ideas elsewhere. [May 2007, p.123]

Happily thieir mellowness is balanced by musical variety, from Snow Canyon's hint of Emmylou Harrris country to Forever Me, which is pure Bjork-ish torch song indie. [Mar 2010, p.111]

Singer Pat Monahan has a Michael Stipe-esque voice: part whine part sneer, but with an added dollop of believeable pathos. On this second album, his four colleagues concoct intriguing backdrops... [#180, p.112]

For the most part, Beyond Good & Evil roots itself between Metallica, nu-metal and the slightly psychedelic ambience of '85's Love: the band's pre-metal apex. [Aug 2001, p.124]

In its progress from raw ambition to actual intent, this mirrors U2's great leap forward from Boy and October to War. [Aug 2006, p.108]

Should go down well with listeners who like their singers to take break-ups badly. [Nov 2005, p.125]

At times brilliant, as on the 10CC-gone-disco title track or Belgian pop cover Without Lies, which features California wild-child Sky Ferreia, there are also one too many homages to '80s Italian disco and Euro-trash soundtracks. [Oct 2010, p.103]

The ensemble take more risks with Gabriel's own songs, pulling them into bold new shapes. [Jul 2012, p.100]

Thier fourth album is a step back in the right direction. [Jun 2010, p.120]

Dani Filth's ninth album ramps up the Carry On Screaming! schtick; the result is one he's behind you short of a pantomime. [Dec. 2010, p. 103]

Though his band can meander, Harrison has proven himself his own man. [Oct 2-012, p.107]

Three years after Rod's Soulbook covers album, Hucknall does that bit better, as you would expect from a voice with more than a decade's less wear and tear. [Dec 2012, p.106]