Warpaint does, however, fall somewhat short of the triumphant comeback The Black Crowes set their 10-gallons at.

While this album is furnished by post-rock's brittle, metallic sound, Prewitt's songs are full of chamber pop's gilded warmth.... A fine, if overlong, album. [Jul 2002, p.118]

The narcotic haze of early singles is missed, but their knack with a loping pop hook is still ever-present and thier euphoric harmonies find new perches in "Back Where We Started" and "Twit Twoo." [Aug 2009, p.109]

The best bits of Whoosh! blend lofty sentiments with earthier delights. ... The album would benefit from the 13 tracks being trimmed to single figures. [Sep 2020, p.28]

Ryan Sambol, with his nasal drawl and ready harmonica, is perhaps rather too into Dylan for comfort, but the title track is dispatched with skronky brio, and "The Unsent Letter" is a heartfelt piano ballad all cracked with emotion. [Apr 2010, p.100]

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

Shiver sometimes feels like a glitchcore sound collage, where ambient passages are ruptured by harsh beats and clamorous noise. [Nov 2020, p.31]

There are too many sleepy stretches and not enough memorable songs between these handsome bookends, as a talented young band dredges the past in search of an identity. [Jul 2013, p.81]

Revolverlution is part-skewed retrospective and part-flawed experiment. [Jan 2003, p.126]

The demos for Be Here Now don't reveal much in the way of nuance or additional texture. You have to dig deep to find genuine curios. [Nov 2016, p.51]

Booming Back To You is palatable enough. [Apr 2008, p.93]

It's no drastic reinvention, but the PRS cheques keep on coming. [May 2018, p.37]

Opener "Satellite 15" might hint at something dark and abrasive, but they're soon back on track, rattling through robust, enjoyable nonsense like the multi-part epic "When The Wild Wind Blows." [Nov 2010, p.93]

He always wants to explore idiosyncratic digital terrains: admirable but, as his 24th LP shows, not always convincing. [May 2015, p.80]

Despite the 28-year gap since they first disbanded, this lineup resumes as if it were only yesterday, in a joyously abrasive, renegade reggae style with lyrics that don't mess about. [Dec 2009, p. 113]

Although at times it's a little too knowingly shambolic, the band nail the mood on "Peace Of Mind", while the outstanding Stonesy number "Anyway I Find You" finds a great bridge between their two styles. [Mar 2023, p.32]

Occasionally a little too meandering. [Oct 2019, p.26]

Booth's increasingly Morrissey-esque voice has a richer and more expressive timbre these days, even if the band's loose, liquid melodies sometimes lack focus. [Oct 2010, p.97]

Delrey loves rock'n'roll, but fuses it with drum machines, vintage synths and mischief. [Jan 2012, p. 84]

The likes of the title track and "Sleep On The Floor" are pleasingly Ryan Adams/Gaslight Anthem-ish; elsewhere, as on "Gun Song" and "Angela" it all gets a bit Mumford & Sons. [May 2016, p.76]

Cherry's still youthful voice and angsty lyrics feel somewhat disconnected from these dubby rumbles and dirges. [Mar 2014, p.73]

A Fool For Everyone proves Bones can write a song or two. [Apr 2009, p.80]

As ever with The Mars Volta, there are enough flashes of brilliance to make up for the wearying material elsewhere. [Sep 2009, p.86]

The gravel voice and self-penned songs are distinctive, and though he's not beyond over-emoting, this stakes claim on a wide territory in a bold manner. [Jul 2009, p.95]

Haunting lamentations that owe as much to the Jewish Klezmer and US folk traditions as to Slint. [May 2005, p.110]

More of a safe record than a spectacular one. [May 2018, p.35]

It's a sequel of sorts to Democrazy, but sounds infinitely more accomplished--undoubtedly part of the technological point that he's making here. [Mar 2011, p.91]

Pallett's pallid voice fails to dramatise the narrative or really engage the listener. As a calling card for future soundtrack commissions, however, it should succeed splendidly. [Feb 2010, p.84]