At excessive volume, Payable On Death sounds like a state-of-the-art metal album, but there's a painful dearth of decent ideas. [Jan 2004, p.118]

Unfortunately, Iha's anemic vocals are as terminally starry-eyed as ever. [Dec 2012, p.107]

When they hit their still groovy '50s psychedelic rock stride on 'Second Sight' or the bonkers hippy wig-out 'Song of Love/Narayana,' the truth is that Kalu Shaker still aren't so awful after all. [Sept 2007, p.92]

There's nothing of similarly instant appeal [of 'Torn'] to be found on Come To Life, despite the presense of three tracks co-written by Chris Martin. [Nov 2009, p.114]

The problem here isn't sullying Jackson's memory and reputation: he was perfectly capable of doing that himself. The problem is that Michael simply isn't good enough. [Feb. 2011, p. 108]

Fans will enjoy this career-spanning double live album. [Apr 2012, p.94]

At album length the apologetic beats and tuneful but numbed vocals quickly pall, and it neither delivers one the wig-flipping promised by the intricate Ocean Floor nor the narco-pop of Disappeared and Turn 2 U. [Aug 2012, p.111]

Cells remains more a collection o would-be club anthems than an album. [Dec 2012, p.104]

Guttural, brutal, and very unpleasant. [Mar 2013, p.101]

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]

Mostly what you'll hear, though, is the hollow sound of a man needing a good, long break.

Patchy... Little of his indignant bluster hits the mark. [Oct 2004, p.130]

A tasteful and delicate record--but one that not quite as much fun as it first seems. [Aug 2018, p.116]

It's an oppressive brew of heavy rock with pounding Kasabian beats, but Harvey, sounding agitated throughout, makes heavy weather out of it. [July 2008, p.108]

This is a record marked by its elegance, pace and excitement. [Jun 2015, p.110]

When Green is good here, he is very good, and the mis-steps are minor niggles.[Dec. 2011 p. 132]

This follow-up is still falls between Dido's mild AOR and Lily Allen's bouncier moments while being as memorable as neither. [Mar 2009, p.101]

Highly charged without being mawkish. [July 2002, p.115]

The message is as subtle as a street riot but the delivery mechanism ('90s funk metal, barked tirades) creaks with age. [Oct 2017, p.108]

His most consistent work since 1991's Diamonds And Pearls, although you'll need to ignore the peculiar narrative episodes in order to fully enjoy it. [Jan 2002, p.106]

Especially on the Thin Lizzy-esque 'What Do I Have To Do?' and the irresistible 'Wasted,' they sparkle. At other times, though--the unloveable 'Here For The Party' and childish 'Girl Talk'--these four 28-year-olds still think they're in high school. [Nov 2007, p.137]

First single "Stop The Music" suggests they may yet escape this postmodern cul-dul-sac, but by the time they get to "I Vibe You," it feels like being trapped in a lift with The Saturdays. [Aug 2010, p.124]

The album finds them hamming up their debauched image to the point of self-parody. [Oct 2008, p.149]

Inevitably, it's a bit of a mess.... But if you like Poe, or Reed, and can tolerate the incoherence, there's fun to be had. [Feb 2003, p.105]

A numbing montage of half-formed ideas and too-slick production. [Jul 2003, p.100]

It feels like a splash of teenage aftershave: a pass at sophistication, not the real deal. [Oct 2011, p.123]

It's hard not to think that CSS's moment has passed. [Jul 2013, p.101]

Corny soul pitfalls are navigated via satisfying hooks which erupt every time the four-part harmonies kick in. [Sep 2002, p.101]