The remainder of In Limbo colonises the liminal space between harmony pop and spacecraft noise with giddy style. [Oct 2012, p.86]

Sparse, literate... and full of killer tunes. [Sep 2005, p.105]

The boundary-trampling spirit that makes their music stretch out almost infinitely live remains barely tapped. What keeps The Zutons special is singer David McCabe's lyrics. [May 2006, p.108]

Ballads like "Chill In The Air" and "Burden" have a stately gait, but Lee is more engaging when he turns playful huckster. [Jan 2014, p.75]

Simultaneously stupid and very smart. [Jul 2018, p.30]

It's like walking through smoke and mirrors towards an utterly empty dancefloor, a kind of nightmare inversion of TNGHT's rave exuberance. [Apr 2014, p.73]

"Give Me Love" and "Last Time" may articulate different relationship stages, but are euphoric in their own ways. [Sep 2017, p.35]

While it might have played better in 2003, it's a welcome return regardless. [Jun 2017, p.23]

It's less gonzoid than previous efforts and more effective for that. [Mar 2007, p.79]

Lean Forward occasionally falters toward generic Southern rock, but contains its share of gems. [Nov 2009, p.81]

Woozy psych-folk remains her default setting, but there’s a fresh sense of experimentation at play here. [Jun 2022, p.26]

For all its excursions into dancehall and fado, it's no advance on 2014's Rebel Heart: there's a sense of chasing trends. [Aug 2019, p.32]

Simple, unforced piano ballads sit besides florid pop singles. [Nov 2016, p.37]

Saturdays=Youth is embarrassingly earnest. [May 2008, p.102]

By now the patience of even their most ardent fans must be wearing thin

Amounts to a consolidation rather than a progression. [Jun 2005, p.97]

A spring creeps into the step of "Sunday Afternoon" and "Telephone," providing a welcome break in the weather from a band who conform a little too readily to Henry Ford's dictum of having any colour you like so ling as it's black. [Oct 2010, p.87]

Elastic raps from Q-Tip and Spank Rock, plus some ballsy vocals at last from Rose Elinir Dougall, save the venture from total ignominy. [Oct 2010, p.105]

Royal Trux's '80s junk aesthetic has since been appropriated by James Ferraro et al, but Herrema does it with a sneer that's hard to resist. [Feb 2012, p.81]

He signs off with a collection of mostly familiar songs, including three others by Webb, Bob Dylan's "Don't Think Twice It's All Right," Fred Neil's "Everybody's Talkin'" and a sublime version of the Dickey Lee heartbreaker "She Thinks I Still Care." [Aug 2017, p.15]

Repeated plays reveal little charm and less real humour. [Aug 2003, p.97]

[A] promising, flawed debut. [Apr 2004, p.110]

As ambitious and compelling as psych-tinged pop gets. [Nov 2004, p.122]

Demolition is further proof that his creative instinct is still intact. [Album of the Month, Oct 2002, p.100]

Laudable, but overreaching. [Nov 2006, p.130]

This is regal, majestic pop music played with a roundheaded bluntness. Off with their heads indeed.

The Bees have a nose for sniffing out fine pop melodies. [Apr 2007, p.93]

The results sound like an update of the kind of AOR racket Pat Benatar and Heart were making in the '80s. [Nov 2007, p.116]