As a whole, demanding of patience. [Apr 2014, p.78]

The lurch towards conventionality has exposed Isis' limitations: their paucity of melodic ideas, the pompous drumming, the lack of wit or soul. [Jan 2007, p.100]

Only emphasises their problems. [Jul 2006, p.92]

They may be shamelessly role-playing their Joan Jett schtick, but The Donnas still out-rock earnest retro-bores like Jet and Kings Of Leon. [Dec 2004, p.157]

Instead of idling into wry balladry of the later works of their obvious idols The Replacements, which would have suited Green Day well, they've affected the airs of Serious Artists. [Jul 2009, p.88]

This is surprisingly, refreshingly, "modern" music. [Mar 2002, p.104]

Strangely compelling. [Oct 2003, p.124]

At their best, Orton's songs do achieve what Daybreaker sets out to achieve--a sense of watching the dawn rise, all hyper and half awake from having been up all night arguing, making love or simply conversing intensely. [Sep 2002, p.108]

The duo's liking for repetitive Royal Trux-style riffage forms the core of their debut but they frequently explore more sparse territories. [Apr 2003, p.110]

Ultimately, it's that out-of-time devotion--along with soaring choruses to put most contemporaries to shame--which makes this a debut record to cherish. [May 2004, p.104]

By The Way presents a band who have mellowed and matured with unusual benefits to their music. [Sep 2002, p.118]

Full of surprising songs with some cracking tunes that step far outside the punk-funk-grunge-metal formula of the Chili Peppers. [Mar 2004, p.99]

The first six tracks of pared-down techno loops give way to the ambient sound-and-speech collage of "InterZil" before the metallic funk jackhammers of frenzied current single "Krekc." [Jul 2002, p.106]

[A] sturdy ensemble record. [Jul 2005, p.104]

When the shuffly mountain music is bolstered by some unobtrusive electronics it sounds more natural than it should. [Mar 2008, p.84]

Canning's default setting is a distorted, drone-laden, melodic indie rock that recalls My Bloody Valentine or Sonic Youth, but he also goes off on some interesting tangents. [Oct 2008, p.81]

Radian, the Vienna based trio of martin Brandlmayr (drums), Stefan Nemeth (guitars, synthesizers)and John Norman (bass), are a cerebral, digital post-rock outfit whose wibbliness too often leads them into a state of rhythmic paralysis. [Jan 2010, p. 123]

They have bell-clear voices, and a spooky ability to envince naivety and world-weariness in the same breath. [Feb 2010, p.88]

Their debut is an urgent affair full of scratchy, slyly melodic and occasionally anthemic post-punk rock. [Apr 2011, p.83]

Not radically reinventive, then, but Vessels deserve to keep their foothold on the post-rock face. [Apr 2011, p.100]

Stuffed full of prospective hits, Wretch's desire to rank beside Kanye and Jay-Z may not be that far fetched. [Sep 2011]

It suggests that, far from being a cynical piece of auto-karaoke, the bulk of this album is motivated more by art than nostalgia. [Nov 2011, p.82]

A musical time machine. [Mar 2012, p.82]

The good news is [single "You Don't Know How Lucky You Are"] is not even the best song on his debut album. [Mar 2012, p.89]

It could do with some Toe Ze-style danger, and it's a bit coffeetable--but a sun-dappled, rum-stocked coffee table to be fair. [May 2012, p.69]

[This LP] is rammed with coming-of-age songs masquerading as outlaw tales, driven by Smith's happy knack for finely chiseled narratives and a great blustery voice that roars through bluegrass shanties. [Nov 2012, p.85]

Oak Island does for Chicago what Panda Bear's Personal Pitch did for The Beach Boys. [Apr 2013, p.74]

An unusual taste that's well worth acquiring. [Dec 2013, p.66]