Music in monochrome needs blacks and whites, but Silesia only has shades of grey. [May 2011, p.116]

Some Nights is ultimately a confused, turgid tangle of ideas. [Jul 2012, p.100]

System is a one-paced, staid affair, where almost everything suggests a tired version of Seal's first hit, 'Killer.'

Big riffs and bigger choruses here will ensure continued American radio support, but Draiman's penchant for singing like a woodland animal startled mid-coitus won't stop the sniggers. [May 2008, p.130]

If his vocals sound phoned in on those, when he does engage, his half-spoken, half-threatening drawl on the homesick America! and Universal Applicant evokes Gil Scott-Heron, but it;'s not enough. [May 2011, p.112]

With this 30th outing there's a troubling sense of treading water. [Jul 2013, p.103]

Devon soul woman meets Dave Stewart, in Nashville. [Sept. 2011, p. 118]

As the tempo drops, however, their shortcomings as songwriters become obvious. [Aug 2010, p.124]

While elegantly arranged and rendered with passion, this is unlikely to convert those deaf to formulaic Americana. [Apr 2007, p.117]

There's little spark, despite her admirable willingness to take chances. [Nov 3007, p.147]

It struggles to hold attention because even Blunt's poppiest songs start the same way as his ballads: a downbeat vocal about ghosting, love or how Twitter hates him. [May 2017, p.100]

Too many of Coxon's conceptual songs are crucified on the cross of his man-child voice, neither weird enough to beguile nor strong enough to hold your attention. [Jun 2009, p.124]

Unfortunately, wit the exception of the catchy "Needing/Getting," there's little that's memorable. [Winter 2010, p.107]

It clings too rigidly to its electronic template and sorely lacks the breezy pop iinventiveness of old. [Apr 2010, p.115]

The trouble is, for all its inventive wordplay and expert pastiches, Join Us swiftly becomes the musical equivalent of that witty, but rather-too-clever male party guest who always ends up going home alone. [Sept. 2011, p. 119]

An over-thought approach, however leaves Schifino's drumming feeling restrained while Johnson's nasal, perma-positive vocals are overzealous. [May 2011, p.119]

Their most overblown record since 1989's Gold Mother. [Aug 2001, p.130]

They are still capable of arrestingly brilliant pop songs, but, judged against past achievements, Velocifero is a step backwards. [July 2008, p.102]

This solid--if unspectacular--sixth managed a very respectable Number 3 (on the Billboard charts). [Nov 2008, p.107]

Plain White T's are ultimately as bland and banal as the clothing they take their name from. [Dec 2008, p.133]

Only the title track, with its surge of guitar fuzz, really matches the idea with the execution. [May 2011, p.120]

It's ultimately too well-mannered and surprise-free. [Jun 2004, p.97]

The melancholy is relentless and ultimately rather suffocating. [Sep 2005, p.115]

While this maximalist approach might conceivably work well live, on record it often feels overblown, overwhelming and ultimately exhausting. [Mar 2014, p.108]

The majority of material... is forgettable. [Dec 2003, p.118]

The forgettable radio-pop of Laughable or Show Me The Way suggests a musician with nothing to prove having fun with his friends. After five songs, though, Give More Love nosedives into by-numbers country rock. [Oct 2017, p.111]

They seemingly can't help breaking electroclash's abiding principle, that of sounding like you're an utterly ghastly person. [Oct 2004, p.121]

The likes of Los Hongos De Marosa glide by in a swirl of subtle beats and understated Spanish vocals, but nothing snags the ear. [Nov 2008, p.118]