The music here remains identifiably and intrinsically Wire. [Jun 2016, p.82]

Her vulnerability is more affecting on the wistful break-up anthem "Losing", before "Younger & Dumber" closes the set with a pedal steel-laced paean to the woman she used to be. [Jul 2023, p.24]

"Young" offers brief flashes of a youthful Cure, but the fuzzy "Choke," about cocaine abuse, is underpinned by a malignant industrial beat, and the dominant mood remains that of an emaciated, homicidal Gary Numan. [Mar 2018, p.32]

Offering a combination of improv and discipline supplemented by anxious guitars and a vocal that often sounded like the recitation of a manifesto. [Jun 2019, p.27]

All in all, it's a match made in heaven. [Jul 2015, p.75]

there's a bit too much scene-setting and not enough storyline, but overall this is some rollicking debut. [May 2008, p.113]

Concrete Desert is a seductive set-piece. [Jun 2017, p.24]

Channel Pressure asks some complex questions about pop's obsession with nostalgia, although the likes of "Joey Rogers" and "The Voices"--with hints of Daft Punk's "Digital Love"--also functions as irresistible pop tunes on a more basic level. [Jul 2011, p.82]

Much more than just a hobbyist fancy, 2 is, in fact, far better than it has any right to be. [Aug 2016, p.82]

[It] strikes a finer balance between ['Year Of Meteors'] and the magic folk realism of her earlier work. [Apr 2007, p.116]

Bliss, bliss, bliss--get Loved up and float away. [May 2012, p.77]

The confidence and unforced vigour of Face The Truth suggest Malkmus is happier on the margins of alt.rock than in its spotlight. [Jun 2005, p.112]

A career milestone. [Mar 2006, p.91]

Hit Reset is a deliciously rowdy work in which Hanna flames negligent friends, cyber-bullies and idiotic lovers. [Aug 2016, p.77]

A mouth-watering feast of beats and grooves... as welcome as anything he's done. [Apr 2005, p.100]

Still shambles too freely but features stellar moments. [Jun 2005, p.108]

Not all of it works...But, as a radical overhaul of a career, it's a brave, brilliant and highly personal statement. [Mar 2010, p.83]

Waits is still taking more risks than most US 'singer-songwriters' of his generation, and parts of this album rock righteously. It's just that some of Waits' musical modes... have been done before, and much better. By him. [Nov 2004, p.110]

It's a compelling psychological study set to lovely tunes. [Jul 2003, p.114]

As background listening, this sounds like high-class Enya, but listen harder and dense textures and nuances lie beneath the surface. [Feb 2004, p.78]

Lost In Revelry's trump cards are its sudden, exhilarating turns of weather, its restless--sometimes uncomfortable--soul-searching, and its knack of throwing up instantly-hummable pocket classics. [Dec 2002, p.131]

Strange, though, that we yearned for Pollard to treat his songs properly when he tossed them off as lo-fi sketches, but now they arrive as crafted, completed stadium anthems, that faint whiff of underachievement remains. [Sep 2003, p.102]

As a mature statement by someone who's done it all, but still retains a desire to create something new and fresh, Mighty Rearranger is a record of considerable depth, admirable adventure and surprising passion. [May 2005, p.110]

The trio has acquired the confidence to cherry-pick tropes from dark-rock's heritage and mould them into thier own glum grooves. [Mar 2006, p.100]

In many ways [it] seems in thrall to its predecessor. As a study in System Of A Down's multifarious strengths and occasional weaknesses, however, it's indispensable. [Jan 2006, p.110]

Just as the record threatens to flatten into artifice, they bust out their best Clash and Cheap Trick moves on 'Middle Management,' gleefully shattering the porcelain into smithereens. [Jan 2008, p.82]

'Little Ones' is insanely jaunty, like somthing out of "Sesame Street" and one of the most enjoyable songs of the year. The rest of Receivers is equally buoyant. [Dec 20008, p.108]