Maybe Earth isn't packed with abstract intricacies to pore over like most of the other records he's been involved with, but it is fundamentally honest to its creator. [May 2020, p.24]

It's nimble stuff, but the most moving contribution comes from the late Buck Ownes. [Jan 2008, p.104]

The band’s decision to keep things on more orthodox tap seems to have been accomplished at the expense of some of their spirit.

The band generally favour simplicity and great hooks on this fine second album. [Mar 2015, p.84]

Curdled cuts of lover's R&B are oddly beguiling, but best are the dancier cuts like "Warlord," a blissful excursion in strobing percussion and luxurious, frothy synths. [May 2011, p.88]

Another fiercely fashionable and languidly ambitious collective. [Apr 2002, p.108]

Despite the air of contemplation, there's plenty of energy. [Sep 2004, p.98]

What Labyrinthes lacks in instant anthems, it makes up for in rich melodies, grand orchestration, and blooming arrangements, that stop short of bombast. [Jun 2009, p.92]

It's disappointing that nothing else on the record even enters the same solar system [as "1 Thing"]. [Aug 2005, p.92]

Too many songs like "Spiral" lapse into mere pleasantness, but the clockwork body music of tracks like "Middle" and "Lady Luck" is compelling. [Jun 2011, p.86]

It's fitting that this debut contains at least half a dozen exquiste songs that could work in any idiom. [Feb 2008, p.80]

A grown-up record that hints at a more excitable wayward past. [May 2009, p.91]

HudMo has toned down the high contrast and adopted a softer, soul/R&B-pop style. [Jul 2015, p.77]

The glossy production and soaring choruses make it as resolutely user-friendly as her previous albums. [Sep 2012, p.81]

Snoop's patter soon descends into G-funk pastiche and cretinous misogyny. [Feb 2007, p.85]

If he sometimes misfires... K-OS at least has inventiveness in his sights. [May 2007, p.96]

Like Tragedy & Geometry, it's awash in vintage synthesised sounds with which fans of Tangerine Dream and Ash Ra Tempel will be familiar, but remains considerably more concise than this (and its predecessor) suggests. [Jan 2013, p.77]

Revisits the kind of understated, politically slanted synth-pop that defined the Minnesota band's last two Trump-haunted albums. Nut Leaneagh also digs deeper on more hopeful, personal ruminations. [Mar 2020, p.35]

If anything, Damage And Joy underscores the Mary Chain's strengths. [Apr 2017, p.36]

There are very few other albums this year with as much force, verve, and sheer musical imagination as That Lucky Old Sun. [Sep 2008, p.84]

Their syrupy soft-rock instrumentals, here in abundance, stacked like fluffy breakfast pancakes, are moreishly, but the gimmick wear thin pretty quickly. [Aug 2015, p.78]

Cumulatively, the brassy blare and breakbeats are like Dayglo plasticine, now merging into an paterfamilias brown ball. [Feb 2018, p.27]

There's real poeticised emoting here. [May 2003, p.108]

Fatherfucker pillages Missy Elliott, Suicide and "Justify My Love"-era Madonna, and even outfoxes the Yeah Yeah Yeahs. [Oct 2003, p.126]

Finally finding a palatable singing voice, too, the musical acuity shown here still places him very much in front of guitar-hero peers like John Squire and Bernard Butler. [Dec 2002, p.129]

May be the most consistent of the four albums to date. [Jan 2003, p.122]

The chamber-pop arrangements make pretentiously snarled lyrics slip down smoothly. [Oct 2005, p.108]

An efficient if fairly joyless hybrid of the Stones, AC/DC and Oasis. [Nov 2003, p.109]