Fortunately, the sturdy rock instrumentation of Green Day producer Rob Cavallo serves to tamp down her pervasive air of self-importance while minimising the cringe factor in her lyrics. [Jul 2006, p.98]

Solid, competent stuff, but it's difficult, but it's difficult to imagine anyone wanting to listen to this in isolation. [Dec 2011, p.89]

With every album that he writes HIM mainman Ville Valo gets closer to his dream fusion of Metallica, Depeche Mode and Ozzy, while still remembering to add some distinctly gothic beauty. [Oct 2007, p.93]

When the shuffly mountain music is bolstered by some unobtrusive electronics it sounds more natural than it should. [Mar 2008, p.84]

The Vaselines were more of an idea than a reality, but this revival, with Kelly joined by founding member Frances McKee, Belle And Sebastian's Stevie Jackson and Bob Kildea, plus 1990s drummer Michael McGaughrin, shows they have finally perfected the art of being Just Dumb Enough. [Sep 2010, p.108]

Songs remain huge, sitting just the right side of overblown, ornate but never delicate, as if hewn from stainless steel. [Feb 2009, p.93]

The song themselves are thoughtful, ambling between folk, country and mid-paced roots-rock. [Aug 2009, p.100]

Throughout, Lawrie's voice is buried so deep in the mix as to be virtually inaudible, like a Mary Chain 7" slowed down to 33rpm. [Aug 2017, p.38]

Sahel Folk pushes no boundaries, but it's a charming, lo-fi set from northern Mali, delivered by a man who has been a quiet force for some years. [Feb 2011, p.103]

Bad Love takes a less romantic view of life, but sonically, the retro filter is still very much on. [Aug 2015, p.81]

The austere brand of retro-rustic Americana sometimes sounds overly tasteful, but there are spine-tingling beauties here too. [Oct 2018, p.30]

Ultimately, In My Mind falters through narrowness of vision. [Dec 2005, p.120]

While there is much here to admire, at its overblown worst Neon Bible is one of those records that takes itself too seriously to be taken seriously. [Apr 2007, p.90]

Melody Gardot actually makes a better album than Shakin' Stevens and Peyroux with My One And Only Thrill. [Apr 2009, p.82]

Mi Ami makes a joyfully ungovernable tribal noise on this second album. [May 2010, p.99]

Extremely mixed results. [May 2006, p.119]

This vaguely "concept" album comeback mostly consists of polished jazz-pop and coffee-table Americana with faint echoes of Steely Dan, Tom Waits and Prefab Sprout. [Nov 2011, p.83]

It's occasionally redolent of Black Rebel Motorcycle Club, but the likes of 'Hornett' retain a heady, defiantly exploratory quality. [Dec 2008, p.92]

This is a bold howl for attention from the backwoods of folktronica. [Apr 2009, p.89]

While all perfectly pleasant and expertly played, there's a nagging wish that Richey would break out of her comfort zone more often. [May 2013, p.76]

The record arguably lacks a killer track, Chrissie seemingly on autopilot throughout, although the sultry "In A Miracle" contains the occasional echo of past glories. [Jul 2014, p.76]

A sampling tour de force, but short on soul. [Apr 2006, p.112]

The period pieces--string-laden ballads by Ella Fitzgerald, Helen Forrest and Jo Stafford-provide some light relief, as does the Art Ensemble Of Chicago-style junkyard jazz of Greenwood's "Able-Bodied Seaman." [Dec 2012, p.72]

The somber mood is finally blown away by Crazy Horse-style closer "So Long" as The Lumineers churn into intriguing new territory while doggedly holding onto their entrenched melancholy. [Apr 2025, p.35]

Pleasant enough, but The Magic Numbers do this stuff for warm-ups. [Sep 2010, p.87]

Here they continue their mission with bashes at Wilco, Pink Floyd, and a straight-but-great take on Yes' 'Long Distance Runaround.' [Dec 2008, p.81]

At times it's too MOTR for its own good, verging on easy listening - but who would blame these two, 82 and 73 respectively, for kicking back in the autumn of their years. [Jun 2025, p.39]

Opening cut "I Got You" promises faith and solidarity "even if they start to build that wall," and both the strident funk of "Above The Law" and the testifying "Pressure" lament the rise of inner-city crime. [May 2019, p.30]