They've still managed to convert their technological shortcomings into some fuzzed-out, genuinely energised rocking. [Jul 2003, p.113]

Though low on hooks, the ragged and faster songs are sweetened by the vocal interplay between Hersh and Donelly. [Apr 2003, p.104]

Splendid, splenetic stuff. [Apr 2003, p.102]

It's clever, zesty and kaleidoscopic and sometimes... quite brilliant. [Aug 2002, p.121]

It's raised a notch by the seductive combination of just-grimy-enough production and smooth vocals. [Jun 2003, p.96]

Draws heavily on Depeche Mode and the Pet Shop Boys.... It would take a dazzling collection to sound anything other than a poor relation to such synth titans, and this plainly isn't it. [July 2002, p.108]

Sun-kissed, deeply Beach Boys-esque music that will provide comfort to those who wondered what happened to the Wilco of 1999's Summerteeth. [Mar 2003, p.111]

The future of pop? Only if you've read too many fashion magazines. [June 2002, p.111]

His diluted indie-whine does become obnoxious over the long haul. [Mar 2003, p.104]

Comes laden with flashy A-list cameos. [Jun 2003, p.96]

Human Conditions is not a musical disaster on the scale of Heathen Chemistry. It's just that, from Richard Ashcroft, more is expected. [Nov 2002, p.98]

The album rallies at the halfway point, becoming a straightforward old-fashioned metal affair. [Sep 2002, p.102]

Music for thirtysomething teenagers, and none the worse for that. [Jun 2003, p.92]

There is a fluid coherence to the project.

Drummer Jim White and guitarist Mick Turner lend understated support throughout, but it's Ellis's eloquent bow that captivates. [Mar 2003, p.103]

Her most rounded album.... However, many lyrics have taken a sudden, baffling turn into mystical territory making this two steps forward and one back. [May 2003, p.114]

All 10 songs yield more delights with every hearing. [May 2003, p.112]

An absolute masterclass in thoughtful, emotional songwriting. [Apr 2003, p.104]

It's some indication of Feast of Wire's accomplished evocation of Arizona's old weirdness that it makes you want to go to Tucson. [Mar 2003, p.104]

Like the '70s, then, but much more fun. [Nov 2002, p.98]

It's not exactly a party, but Marshall's songwriting and cooing delivery remain fierce and otherly, redolent of romantic encounters in strange wood cabins. [Mar 2003, p.114]

As ever, songs veer between the nigglingly infectious and cliched slush. [May 2003, p.109]

Juke joint heaven. [May 2003, p.106]

Oozes convention. [Jun 2003, p.98]

Everything comes dripping in portent and seems too in love with its own seriousness to excite any emotions. [Mar 2003, p.106]

A fiddly disappointment, as centreless as a B-sides collection. [Oct 2002, p.117]

Unrest follows a clean electronic trajectory, which manages to project both urban complexity and domestic quiet, while Oye's free-associative lyrics meander amiably here, there and nowhere. [Mar 2003, p.109]

Trouble is, they're often only half-good songs. [Feb 2003, p.94]