Exists in the blurry middle ground that separates provocative experimental art from utter nonsense. [Nov 2004, p.130]

For the most part, it's standard shouty punk designed to appeal to white male American virgins... Yet, they surprise. [Dec 2004, p.147]

There are rather too many old-fashioned slow songs here, and as a result, the album is predictable. [Oct 2004, p.114]

The link between '50s rock and the modern world. [Oct 2004, p.121]

At times, the sugary vocals do become a little sickly; mostly, though, Universal Audio is a mastercalss in harmonious guitar pop. [Oct 2004, p.122]

The feel is of youngish bucks cruelly taunting their 64-year-old granny. [Nov 2004, p.127]

Stylish nightlife pop. [Dec 2004, p.148]

Antics is ridiculously good. [Oct 2004, p.112]

A wry and considered thing. [Oct 2004, p.128]

The real revelation of this new Smile is its melodic depth, even if lyricist Van Dyke Parks's oblique ruminations seem unnecessarily flowery. [Nov 2004, p.114]

He remains, ultimately, doom-laden. [Nov 2004, p.125]

It's '80s synth-pop in spirit rather than form, miles away from the make-up clad silliness of electroclash and much more interested in muching about with present day technology than simply recreating the past. [Jun 2004, p.98]

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]

Like Talib Kweli... she mixes precise diction with writing that's high on observation and metaphysical promise. [Dec 2004, p.137]

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

There's still heart and soul in that funny old voice. [Nov 2004, p.118]

A powerful work, noble in both intent and execution. [Nov 2004, p.110]

With genre-hopping abandon he enlists Spanish guitars, jazz bass, reggae horns, rock drums and disco synths, relentlessly asserting that commercial viability and imagination don't have to be mutually exclusive. [May 2005, p.112]

What burns from the music is The Clash's defining characteristic: the fact that they were insatiable omnivores. [Oct 2004, p.136]

Not everyone will want to follow Banhart's cosmic meanderings, but those who take the plunge will find much to feed their head. [Oct 2004, p.133]

Halfway through... it becomes a directionless mess. [Jul 2004, p.113]

It's a salient reminder of the wafer-thin line between art and pretentious bollocks. [May 2004, p.108]

Though head-spinning, this collision of ideas retains some cohesion thanks to Gelb's sun-scorched songwriting that sees his acoustic alt-country efforts, in particular, shine. [Oct 2004, p.123]

It sounds exactly the same as the first record... Another solid, unremarkable effort. [Oct 2004, p.116]

After all these years, is that it? [Sep 2004, p.110]

His falsetto voice, cutesy pitched-up female backing vocals and playground chant hooks are the stuff of kiddy pop. [Oct 2004, p.123]

Seems to focus more on Dizzee's virtuosity as a producer than a rapper, and teems with exotic noises, odd rhythmic loops and unexpected shifts in mood. [Sep 2004, p.112]

An instantly loveable collection of sky-punching, new wave pop glory. [May 2005, p.117]