Where the album suffers, however--especially in comparision to the Jenny Lewis record--is the absence of any real lyrical verve or personality. [Aug 2008, p.94]

It's a concept album about vengeance and contempt, and reminds that they're one of the only UK bands of their era still worth following. [June 2008, p.86]

The sheer depth of ideas is impressive, but the result is exhausting. [Jun 2020, p.33]

There's much to admire here, but Flume needs to fix his identity. [Mar 2013, p.72]

Despite some interesting -co-writes with the likes of Walter Becker, it never achieves lift-off. [Apr 2009, p.82]

Their treacly heaviness still courses through pop cuts. [Jul 2017, p.23]

Although the title track holds a sliver of adventure with its fizzing electronic flourishes, the absence of evolution elsewhere reveals a band hanging too tightly on to the past. [Jun 2016, p.81]

Fiendishly clever, but not easy to love. [Oct 2009, p.104]

The long-running project of Pall Jenkins and Tobias Nathaniel, also of venerable indie-rockers Three Mile Pilot, BHP peddle a slo-mo country gloom, songs of heartbreak and religious dread conducted at a desultory limp. [Dec 2009, p. 85]

From a band as previously as stylishly provocative and adventurous as Goldfrapp, these knowing cliches and lush pastiches suggest a band playing it distinctly safe. [Apr 2010, p.88]

While James Murphy's homages are leavened with irony and discrete heartache, Dear is more po-faced than pomo. [Sep 2012, p.75]

A set of faintly sad songs so minimal that they're often barely there at all. [May 2005, p.96]

The vibe is mid-'60s grindhouse. [Jan 2026, p.25]

There's little evidence [of reinvention] on a collection of soul-pop ballad s that sound like Jay Kay singing the James Blunt songbook. [Oct 2011, p.93]

While its faintly folkish, alt.pop songs fail to reveal any feral side to the bassist of Bombay Bicycle Club, they prove his compositional chops while radiating a pleasantly frosted glow. [Mar 2017, p.40]

Their third LP reveal a sweary rock toughness that suits them (surprisingly) well. [Nov 2008, p.120]

In this mood, 57 minutes with Barnes is exhausting. [Mar 2012, p.94]

It's undeniably awe-inspiring and effective stuff, nut for fans, there's a sense of well-worn tropes entering half-life. [May 2016, p.76]

Rosen and Nicolaus stride forth as songsmiths of a much more assured vintage, harp, piano, brass and chocolatey harmonies coming together in vividly orchestrated numbers. [Nov 2008, p.94]

There's a less scrappy approach on this album, a glossier production with more realised and experimental offerings. [Jun 2017, p.28]

This is a fairly functional set of no-nonsense instrumental cyber-boogie that lives up to its title by bucking and slithering across the dancefloor in an elegant if anonymous fashion. [Jun 2016, p.75]

Six albums in, they remain fond of that very Swans pursuit of ecstasy through repetition. [Jul 2013, p.69]

This, their sole album, is a curious beast, reminiscent of The Lounge Lizards or Devo, but defiantly its own thing. [Nov 2011, p.98]

The music does not so much take off as forever taxi toward the boundary fence. [Dec 2013, p.70]

It's an uninspiring ending to a record that it's best faces up to some pretty downbeat truths and thus seems to fit right into the current national mood.

There's nothing here as good as 'Nosebleed,' the standout from 2007's "Our Earthly Pleasures"--but there are still some good points here. [Jun 2009, p.92]

It's manically busy, demanding you strain to find the tune beneath layers of mellotrons, flutes and timpani. [Jul 2010, p.115]

It's hard going, but one can only applaud the ambition. [Jun 2010, p.83]