Harding here ups the comeback ante with a baker dozen of frothy, breezily melodic gems. [Dec 2011, p.84]

The tone of observational distance build to an understated climax with "Shadow Boy." [Jun 2013, p.74]

Black Noise was the most seductive techno album of last year, and it probably deserves better than this somewhat perfunctory remix comp. [May 2011, p.93]

By no means a rebirth, but feistier and more fun than last year's Destiny's Child record, for sure. [May 2005, p.95]

There's a fair amount of Fugazi worship on display with track like the churning punk of "Ruptured Line," but the album really flies when the metal influences come to the fore. [Nov 2018, p.]

"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]

While his lyrics crackle, the music seems like an afterthought. [Dec 2011, p.84]

The tunes seem to have lost a little of their punch, producer Ken Coomer setting Milia's pale voice against folk-pop arrangements that often feel strangely bloodless. [Mar 2017, p.30]

Antarctica is leaner then Flat Worms, and if the tunes don't hit quite as hard, then at least the smart lyrics are easier to catch. [Jun 2020, p.29]

An unusually exciting attempt to revitalise past glories. [Oct 2002, p.111]

Her best album for many years illustrates her uniqueness. [Jun 2010, p.97]

The sonic ambition is admirable. [Aug 2018, p.28]

There are plenty of moments where everything clicks, with Sun Araw's dayglo-acid guitar skirling over motorik rhythms and hubble-bubble analogica. But these don't on their own justify its existence, alas. [Oct 2011, p.84]

Much of Drum's Not Dead suggests a Ligeti score for The Blair Witch Project as played by The Residents. [Mar 2006, p.88]

It almost works. [Nov 2011, p.84]

The Rifles' standard formula is cliche-ridden but effective. [Dec 2011, p.95]

Untrue is altogether warmer than its predecessor. [Jan 2008, p.87]

It sees them adapt while retaining their street credibility. [Nov 2008, p.117]

It's a smart collection of songs full of inner turbulance, delivered in an emotional voice that at times recall Guy Garvey. [MAr 2010, p.90]

Return To Form's one of their better efforts. [Mar 2010, p.90]

The success rate is variable. [Oct 2005, p.94]

This is fizzy, superficial pop by a band convinced they're making classic rock. [Dec 2005, p.114]

His 2007's "Spiderman Of The Rings" was filled with good ideas but prone to novelty. Bromst goes a long way to reversing this trend. [Apr 2009, p.84]

As is generally the case with Loaf's oeuvre, the ridiculousness of the enterprise is redeemed somewhat by a recognition of its own absurdity. [Jul 2010, p.112]

You can not fault the passion of the songs or the tasteful nature of the playing, but it's difficult to see what of himself, besides an admiration for Bob or Bruce, he's actually serving up here. [Oct 20101, p.101]

Lenses Alien harnesses the singular vision of singer and guitarist Joseph D'Agostino to finely nuanced, feedback-soused art-rock. [Nov 2011, p.83]

Slim Twig's louche theatricality will probably repel as many listeners as it attracts, but life is a cabaret, old chum. [Jan 2015, p.92]

Like most albums by reformed bands, it reminds you what you liked without opening up an essential new chapter. [Apr 2015, p.84]