Most songs need both depth and edge. With Love Frequency, Klaxons have tuned in. What they really need to do, however, is freak out. [Jul 2014, p.105]

His debut combines melodic dubstep with a dose of Timbaland-style R&B. [Dec. 2001 p. 127]

Ultimately, it's good to know they're out there straining every nerve, vein and eyeball, even if those who'll want to listen to it more than twice are surely few. [Jun 2012, p.101]

While her normal source of junior raunch [Max Martin] churns out the usual fesity hits... the remaining chastity-endorsing mush is nowhere near as exciting. [Dec 2001, p.131]

The 11th Bunnymen album is a reminder that the elegiac guitars and uplifting choruses of indie rock were invented by this band way back in the ealy '80s. [Nov 2009, p.104]

The results are just wonderful. [Sep 2003, p.112]

This time, there's a bankable chorus or barbed sentiment for every mirror-ball moment, not just on the singles. [Sep 2001, p.112]

There's plenty here to test the patience of even the sternest fan. [Dec 2003, p.122]

The sparse sound that he produces means it's more entertaining to watch his trickery than to listen to it. [Apr 2008, p.117]

Third time around there's some deviation from the formula, but the lack of subtlety is a little wearing. [May 2013, p.95]

There are too many songs here set to the same humdrum pace. But those are the sort of flaws you expect from a debut. [May 2013, p.112]

Drowners wear their influences with pride, but their charm is all their own. [Mar 2014, p.112]

The won't slay any kings without more killer choruses. [Apr 2013, p.111]

The less devout should keep a pinch of salt on stand-by. [Oct 2007, p.100]

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

His best work to date because, at last, he actually sounds awake--even if much of the record remains music for dozing in hammocks to. [Apr 2005, p.122]

Their gentle, dreamy glide sounds like Foals without the hubbud. [Apr 2013, p.111]

Good, but should have been better. [Mar 2006, p.109]

The occasionally super Supermodel is an album of transition rather than a definitive statement. [Apr 2014, p.113]

This finds the Californians bulking out five lead-footed new tracks with live versions of their handful of hits. The whiff of desperation. [Oct 2010, p.103]

Only Haim's contribution to Red Eye enlivens the tedium. [Aug 2013, p.99]

Fallen Empires is typically and unashamedly arena-friendly bombast ... leavened by leader Gary Lightbody's often appealing insecurity.[Dec. 2011 p. 134]

A risible attempt to recapture long-vanished glories. [Nov 2007, p.137]

It's hard to discern quite what Oakenfold himself brings to the party. [July 2002, p.117]

Where Marilyn Manson is dark and introspective, Godhead are much more outgoing.

These recordings feel more an exercise in keeping Buckley's name alive than effectively deepening his work. [Apr 2016, p.106]

What once sounded thrilling and new now merely sounds tired and repetitive. [Nov 2004, p.127]

Manson the man at least seems re-energised here....The same cannot always be said for his band; their limp glam metal consistently threatens to undermine the performance. [Jul 2009, p.127]