Like all luxury goods, there is a hint of the predictable. [Jun 2012, p.83]

This fifth album gets progressively less fuzztoned and more overtly tuneful as it progresses. [Mar 2008, p.85]

The album, recorded live in a village hall on the shores of Loch Ness, is tremendous fun. [May 2016, p.76]

If Black Ice has a weakness, it’s that it betrays an anxiety. As if AC/DC really might be uncharacteristically worried that their grasp on the planet is in danger of slipping. As if they’ve tried to discreetly update their sound, while hoping that their rebarbative old fans won’t notice what they’ve done. Invincibility suits AC/DC. Self-doubt, even a microscopic hint of it, does not.

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.

Though beautifully produced, over 40 minutes these spacious, electronic soundscapes sometimes lacks bite, blurring comfortingly but unimaginatively into one another, their euphoric ambitions too often thwarted by their meanderings. [Apr 2014, p.81]

Even at its best, Given To The Wild sounds like British Sea power without the esoteric charm, which is hardly the heartiest of recommendations. [Feb 2012, p.91]

Feels like the first step in a viable third chapter for a band that has rediscovered its identity. [Apr 2021, p.30]

Three or four songs short of a really strong album. [Oct 2002, p.107]

A sleek and satisfying sixth album--their best since 1994's Snivilisation. [Jul 2004, p.110]

The listenable authority of Campbell’s voice, especially on Foo Fighters' 'Days Like These,' confers the poise you suspect Richard Ashcroft was looking for while solo, but never found.

"Pluze" and "Branches" resemble Air in their languid electro-revisioning of jazz-funk and prog, while the title track pulls back sparkling synths for a noble and histrionic sax break. [Dec 2012, p.68]

The results is an album that's braver, weirder and richer than most of his more sensible and brand-conscious peers could ever manage. [Jun 2019, p.18]

The performances outshine the material. [Dec 2010, p.119]

A second cousin to New Pornographers' Electric Version. [Jul 2005, p.103]

It's beautifully played, and Earle's songs are respectful of their heritage while (mostly) sufficiently confident and idiosyncratic to transcend pastiche. It's just difficult to believe this is the best imaginable use of Earle's time and talent. [Mar 2015, p.72]

It's the inclusion of [Disc 2] that makes this essential. [Dec 2004, p.140]

Luke Haines' trilogy of rock follies concludes with this perverse mediation on New York punk. [Jun 2014, p.78]

There's a certain wonky charm to the title track, but elsewhere Creation is too clean and clearly aimed at a Radio 2 demographic to be much more than background noise. [Jul 2014, p.78]

Remarkably extending to 18 tracks, Absolute… traces the discography from the wide-screen Mary Chain of 'Only Happy When It Rains' to the Bond theme 'The World Is Not Enough' and the Spectorish strings of this year’s comeback, 'Tell Me Where it Hurts'--though 2001’s cute 'Androgyny' is an odd omission.

Feels timid and trite. [Oct 2005, p.98]

This reunion feels like they've never been away. [Nov 2008, p.102]

A follow-up on which original members Eugene Reynolds and Fay Fife seek only to reanimate the spiky, sparky spirit of '78. They mostly succeed. [May 2015, p.80]

Platinum Tips + Ice-Cream sees the duo attack old songs with results both gloriously haphazard and straight-up glorious. [Jul 2017, p.39]

The sweet '70s AM harmonies sometimes sugar the pill too much, but there's no mistaking its artfully bitter taste. [Jun 2005, p.110]

Pitched as the first part of a trilogy, this is a batch of effortlessly lovely tunes, warmly intimate and muzzy with reverb. [Nov 2010, p.81]

It's a beauty. [Jun 2013, p.81]

This polished third album is a feat for fans of puerile humour and glam-metal guitar solos. [May 2014, p.80]