Might be a primer for his various selves, so redolent are individual tracks of previous songs. [Jun 2004, p.92]

There's still a noisy edge to the group and some moments do shine, such as the LCD Soundsystem-like "Welcome To Hell" or the sneering "I'm Sick," but largely the album feels a little lost and confused. [Dec 2016, p.26]

It's hard to shake the sensation that the band have become rather more ordinary as a result [of the departure of Frank Carter.] [Nov 2012, p.73]

Ultimately though, Tennis are too polished and MOR to rival the peaks of the trio's edgier peers. [Mar 2012, p.101]

Apostle Of Hustle have now all but abandoned the Cuban mores of earlier albums in favour of a lean, bass-driven powerpop. [Sep 2009, p.79]

These are songs all at once cavernous and claustrophobic, substantially assembled from gloomy electronica and echoing drums, all of which provides an appropriate backdrop to a rich voice appealingly laced with melancholy. [Oct 2017, p.30]

If there's a whiff of C86-styled whimsy in this debut, then its savvy more than compensates. [Sep 2011, p.89]

When it's not straining for Significance, though, Viva La Vida is often rather lovely.

Other tracks hide catchier tunes amid the quagmire of guitar. [Mar 2012, p.79]

It's frequently impressive and occasionally lovely, but often loses its soul in Emmanuel's relentless barrage of spectacular effects. [Mar 2012, p.107]

The resulting LP is a shambling, intermittently engaging sprawl, the songs jammed with verbiage, the lead vocals spread among the principals, most of whom make Oberst's frayed, wobbly singing seem Bono-esque by comparison. The LP's saving grace is the dexterous playing of the ensemble. [Jun 2009, p.95]

Not wonderful, but certainly frightening. [Jul 2013, p.75]

This sees David finally jettisoning his twee heritage for a filmic kitsch. [Jun 2002, p.116]

It's far from perfect, but still one hell of a trip. [Oct 2011, p.89]

Assbring has succumbed to the same fate as her country-woman Lykke Li, forsaking early charm for a vague sense of attitude that's largely devoid of presence. [Dec 2012, p.69]

Gimmicky moments are plentiful, but it's the box-fresh pop songs like "Misery" and "The River" that benefit most from their renewed sense of purpose. [Apr 2007, p.100]

In a world of fast thrills, WAS remain admirably opaque. [Apr 2008, p.109]

A certain oppressiveness is part of the design, but there are glimpses of beauty here, too. [Apr 2019, p.39

Lyrically, there's little to cling onto, but it's not inconceivable a song like 'Soldier's Grin' could see them follow labelmates The Shins into indie ubiquity. [Sep 2008, p.115]

This is knowing, glitzy, trash. [July 2008, p.96]

The slick sequel starts strongly.... Alas, the album then falls into a compentent but monotonous groove of priapic Prince-old-porno-funk, its minor flashes of OutKast-style irreverence ultimately overshadowed by routine reto-pastiche. [June 2008, p.99]

The album's heavily layered ambi-rock confections indulge the duo's mutual love of spangled guitar effects, tinselly twinkles and pearly dewdrop shimmers. [Mar 2012, p.97]

Finds her in typically literate form. [Mar 2002, p.115]

Some nice wordplay and a sultry cameo from Asia Argento ensure that Praxis Makes Perfect is fun, if musically flimsy. [May 2013, p.75]

What Will We Be stands as a fittingly ambiguous, partly frustrating and altogether fascinating response to that question. Call it artful artlessness, or vice versa.

Pagans' first half dazzles.... The album closes with eight minutes of psedo-Vangelis twaddle. [Oct 2015, p.80]

Songs such as "Bad Timing" and "Leave It" sound pleasingly full as a result, although it's at the expense of some of the intimacy that was arguably the band's best quality. [Sep 2011, p.81]

There's a certain modish charm to the opener, "Lucifer's Dreams," while "Finest Hour" show an aptitude for gentle balladry. Elsewhere, though, sub-Smiths smartarsery abounds. [Dec 2016, p.26]