Krieger's fuzzy, sustain-heavy guitar solos drift along pleasantly. [May 2020, p.28]

Not everything hits the target, partly due to strangely sluggish pacing, but impassioned weepies like “Work Today (And Tomorrow)” and the sarcastic, agreeably sloppy “Everybody’s Somebody” showcase an impressive vocal and emotional range. [Apr 2014, p.31]

Baby Man is an impressive display of unfettered emotionality, but you may miss Johnson's usual luminous band arrangements and bass-driven grooves. [Oct 2025, p.27]

The songs are assured, strident and catchy, but often fairly cringeworthy too. [Sep 2012, p.73]

What's especially daring about Not Too Late is the degree to which Jones and [producer Lee] Alexander trust their songs and her languorous voice to hold the listener's interest. [Feb 2007, p.75]

Much of the album lacks cohesion, and even seems lazy. [Nov 2004, p.109]

A gooey, iffaintly sickly, treat. [Nov 2010, p.101]

Nelson being Nelson, this lackadaisy tends toward the affable and charming more often than not. [Jun 2013, p.76]

This third album sees her come into her own as a songwriter with a seductive collection of slow-burning synth-funk. [Aug 2016, p.80]

Lambs Anger zig-zags from the sublime to the silly. [Feb 2009, p.89]

Cements FOW's status as the savviest modern-day practitioners of both Beatlesque pop and Steely Dan's cool precision. [Jun 2007, p.94]

While there's pleasure to be had from the band's exuberant MC5-meets-AC/DC racket, their dubious tales of salt-of-the-earth hookers, as found in "Call Girl Blues," and drunken lechery, outlined the willfully crass "Hungover And Horny" takes the retro vibe too far. [Jun 2013, p.71]

Talk of golden snakes, white hands of grief and stalking vultures is somehow steered clear of quasi-mystic cliche, marking out Rose Windows as promising contenders on the psych-rock block. [Jul 2013, p.80]

It would be satisfying to hail A Productive Cough as Titus Andronicus' equivalent of Who's Next--but sadly it's more "What the hell?" [Apr 2018, p.37]

Ringo Deathstarr here reveal their maxi-cranked, MBV/Jesus and Mary Chain adoration in full. [March 2011, p. 99]

A fascinating document... Only select morsels, though... will make your GBV mix tape. [Jan 2006, p.120]

Its cavernous production, Massed campfire guitars and rolling melodies conjure prairies, river and mountains from shore to shining shore. [Feb 2013, p.75]

Slow-shifting movements and droning textures show McCombs choosing familiarity over fresh adventures. [Feb 2003, p.75]

Remarkable less for the tunes than the sheer, punchy exuberance on show. [Dec 2001, p.120]

Documents a continuing decline. [May 2004, p.93]

The band's trademark cracked songcraft... is here in spades. [Nov 2004, p.99]

A hugely inventive collection. [Jan 2003, p.119]

The cartoonish skank of "Too Original" is business as usual, but Peace Is The Mission is often reflective. [Aug 2015, p.76]

Historically confused it may be, but the simple pleasures of Turn The Lights Out are hard to deny. [Apr 2007, p.115]

The vocals feel a bit hammily gothic at times but it’s a small complaint compared with the album’s intoxicating density. [Jul 2021, p.33]

With so many bases cases covered, there's something for young folks and old folks--even if suspicious folks will still need some convincing. [Apr 2009, p.93]

Fun, but unless you're seven, not essential. [Mar 2011, p.93]

His band know their way around '80s-influenced bluster-pop, and carry it off through sheer deadpan lack of irony on this strangely beguiling second album. [Mar 2014, p.79]