"I Like It In The Dark" [is] a hurricane of piano boogie, metal guitar, echoes, poetry and reverb that the rest of the LP can never quite match. [Sep 2013, p.86]

"Escape From New York" and "Halloween" can't top the cold desolation of the originals. ... Pretty much every one of the album's 13 tracks confirm Carpenter's skill for an eerie earworm. [Dec 2017, p.25]

An almost comically seductive blend of luxe funk, disco strings (arranged by Owen Pallett) and analogue synths, which he pastiches with affection and elan. [Feb 2026, p.39]

A somewhat humourless affair. [Jun 2006, p.115]

For much of the record the Djangos are the same sweet-toothed bunch. [Feb 2018, p.24]

One For The Ghost is at its best when he works up a head of steam and leaves James Hoare's guitar space to sparkle. [Mar 2018, p.22]

Main;y, though, we leave Clinic where we always find them: nervously pacing the room, waiting for something to happen. [May 2007, p.92]

Derek Miller's flashy axemanship and Alexis Krauss' swoon are compromised by sanitized production. [Mar 2012, p.98]

Now regrouped by leader Jerry Cantrell, the bands' sound is still full of menace, melody and doom, chock full of Cantrell's trademark heavy riffs. [Dec 2009, p. 85]

Amid the cornball sentiments and bizarre arrangements elsewhere, here against the odds, a touching moment presents itself. [Mar 2010, p.96]

There are moments of real beauty, like the tenderly plucked "Of Unsent Letters," but what might be comfort via familiarity for some may well be lacking in evolution for others. [Dec 2020, p.29]

More than another coaster on the coffee-table circuit. [Mar 2005, p.108]

The issue here is the sameness of his songs. [Dec 2017, p.25]

[They] now sound more immediate, but seem to have forsaken some of their delicacy for caffeinated fuzz-pop, minus hooks. [Jun 2006, p.120]

"Greetings From Mars" touches on Lana Del Rey's desolately pretty Americana, with Nagler's voice reserved yet reaching ecstatically high. [Apr 2026, p.36]

The lyrics to these songs are themselves sketchy, enigmatic, quietly rousing, windily romantic, redolent of majestic vistas, vast horizons, a landscape of personal liberation.

This is one of the heavier and more accessible entries in their labyrinthine discography. [Jan 2009, p.102]

Nathan Williams and his brat-punks have reverted to the DIY route--surely the natural seedbed for their scattergun sonic brainstorms. [Jun 2017, p.38]

Nothing is a strong as 'Hey Lloyd...' and Traceyanne Campbell's lachrymose croon is struggling to find new melodies, but on tracks like 'French Navy' and 'Honey In The Sun,' CO remain heartbreakingly lucid. [May 2009, p.80]

A cycle of slushy but well-written R&B ballads which pay tribute to his soul heroes. [Feb 2011, p.84]

It's less dynamic, but the prog-folk flavours remain intact, with penny whistles and acoustic guitars central to its two sentimental, sometimes meandering halves. [Feb 2017, p.33]

There's an elegiac beauty to these tracks. [Oct 2007, p.114]

Dig beneath the murky punk riffs (“Chinese Dogs”) and difficult time signatures (“Buzzards And Crows”) however, and you uncover a lyricist of rare promise, at his best when he’s on home turf.

Ultimately, though, it's another Squarepusher album you don't really need. [Oct 2009, p.112]

It's an abrasive sound. [Aug 2003, p.99]

Despite some inventive electronic tinkering, the pose wears a bit thin through repetition. [Sep 2003, p.98]

The outcome never exceeds the sum of its parts. [Feb 2013, p.73]

Rockferry is almost a very good album, but, for all the classic hallmarks, there's little insight into the soul of Duffy herself. [Apr 2008, p.84]