The lyrics cover some heavy subjects--feminism, Catholicism, corrupt Irish institutions-- so it's a pity that the hopelessly muddy production means that they might as well be singing in Icelandic. [May 2016, p.79]

The duo can't help sounding like they're holding back a little. [Oct 2006, p.99]

The sound of Ono gravely warbling "Imagine" at the close of Warzone may invite more ridicule from longtime haters. But believers in her musical vision will deem it very much of a piece with the boldness that marks these new renditions of many of her most furious songs. [Nov 2018, p.34]

The result is a seductively melancholy and unashamedly serious album that claws insistently at the heartstrings. [Nov 2011, p.91]

Too lo-fi for its own good. [Jul 2006, p.102]

Ferree's insistence of shoving everything right up front in the mix, all the time, becomes wearing, but you can't fault his enthusiasm. [Jan 2010, p. 110]

The bangles here right the ship. [Dec 2011, p.79]

Too many tracks wrap mildly neurotic musings in self-consciously quirky, deadeningly tasteful, grown-up indie-pop crooning. [Aug 2017, p.25]

It all proves that Seasick Steve is at his strongest when he’s playing solo.

Julie Budet's breathy vocals may be a little too Vanessa Paradis, but producers Jean Francois Perrier and Tanguy Destable keep the grooves shiny and the beats sweet. [May 2011, p.103]

Their UPS lies in their assured threading of post-war archive material from StudioCanal, the BFI and old propaganda reels through Avalanches-style musical collages, [Jul 2013, p.80]

The resulting batch of picture-perfect recreations reveal Tuxedo as a one-trick pony, but it's a wicked clever one. [May 2015, p.83]

The spartan tracks without drums, backed only by clumsy piano, remain highly effective. [Nov 2016, p.31]

Why, when Dragonforce are doing this for real? [May 2007, p.96]

Not for the first time, their presentation is inspired but the material can fall a little flat. [Jun 2017, p.37]

Despite also cooking up a glam stomp with "We All Die Young," it sometimes feels overly contrived. The epic "Rusalka, Rusalka/The Wild Rushes" is a notable exception. [Apr 2018, p.26]

With their stuttering beats, AutoTuned vocals and cheerfully foulmouthed lyrics, these genetically modified mongrel tunes are mostly misfires, which only makes them more intriguing. [Sep 2010, p.101]

This luminously lovely collection is well-judged and intensely personal. [Feb 2013, p.74]

An instantly likable, energetic pop set stacked with guitars; his easy voice shot through with enquiry and regret. [Sep 2015, p.75]

As boisterously sentimental as The Cavern at closing time. [Jul 2007, p.106]

The highlights of their third album appear to have been forged rather than recorded. [Aug 2012, p.69]

This is a bold and engaging revolution. [May 2012, p.75]

This run would undoubtedly be shown to greater effect on a more succinct collection. [Feb 2004, p.86]

Luckily he's such a gifted performer that, even if you don't know what he's saying, you kind of know what he means. [Feb 2005, p.76]

There's nothing particularly profound here, but the combination of skanking, roots-reggae rhythms and O'Connor's still-gorgeous voice... is a winning one. [Nov 2005, p.106]

[Herrema's] songs still have the fuzzy weirdness of prime Trux, but now they're chunky, determined and fully formed, too. [Apr 2007, p.115]

Shelter From The Ash displays some pretty wigged-out guitar work, but balanced by ruminative, minor-key acoustic moments that recall the mood of America's "Horse With No Name."

Driven by two drummers they owe much to the styles of Fucked Up, The Dillinger Escape Plan and Torche, but on 'Black Wax' they apply the brakes, revealing a surprising amount of melodic, colle-rock bounce. [May 2009, p.82]