The inclusio0n of a live concert DVD from 2005 add some roughness but no reason not to just go out and buy whichever Sting albums you already like. [Nov 2011, p.98]

Oddly life-affirming. [Nov 2006, p.99]

A spring creeps into the step of "Sunday Afternoon" and "Telephone," providing a welcome break in the weather from a band who conform a little too readily to Henry Ford's dictum of having any colour you like so ling as it's black. [Oct 2010, p.87]

The skeletal bluesy shuffles are easy to follow, but the likes of 'Avalanch In B' suggest a band lyrically happy to keep the unpleasantness in their woodshed under wraps. [Oct 2008, p.81]

Their dogged adherence to the Southern rock template remains at once a strength and an intermittently frustrating weakness. On the upside, the Atlanta group do what they do with devoted attention to detail, and the correct balance of sincerity and swagger. [May 2018, p.24]

'Half Mast' and the 'Without You' are exquisite pangs of millionaire's melancholy, even if there aren't enough of them to sustain a whole album. [Mar 2009, p.85]

A Positive Rage is something of a misnomer, since hardcore fury rates low on the Steady agenda. More crucial is the band’s 3-D storytelling on muscular guitars, and Craig Finn’s traditional chat about joy in the encore.

When he's not making party music, he stretches out and delivers deep fluid grooves. It's the naggingly simplistic melodies and dumb call-and-response choruses of tracks like 'U Want Some?' that spoil the fun. [Aug 2009, p.92]

It's a treat to finally hear Moyet stretch herself on a classy and engaging modern collection that's only really let down in places by the santitised electro of one-time Bjork and Robyn producer Guy Sigsworth. [Jun 2013, p.76]

If Geldof had been able to restrain his instinct toward baffling over-production, he might have come up with something that fulfilled the promise of its title. [Mar 2011, p.91]

Some of the more routine synth-pop cuts lack weight, but the distant echoes of A-Ha's "The Living Daylights" buried within "Musketeer" are wholly endearing. [Jul 2011, p.103]

The post-punkish synth-funk of "Pagliaccio" and the "Unchained Melody"-referencing 6/8-time epic "Saviour Self" adds variety, but beneath the sonic modernism lies an artist rather too eager to be Hot Chip's more earnest little brother. [Sep 2013, p.85]

That unsubtle drive for huge hooks can sometimes be a bit exhausting, but tracks like "New Age Millennial Magic", the groovy "Feel The Change!" and "Demolition Song" come so loaded with good vibes it's hard not to smile. [Mar 2022, p.25]

There is far too much going on at times. [Oct 2005, p.96]

As daunting as its title suggests. [Jul 2006, p.114]

Her debut British release showcases a vivid and fully formed talent clearly versed in quirky, often humourous songcraft. [Nov 2007, p.125]

An interim record before their next assault, perhaps. [Oct 2010, p.87]

Dreamy, classic-sounding pop nuggets, sung by Cox with a wry, casual authority. [Jan 2011, p.79]

As a whole, 4everevolution lacks the decisive sonic focus his fierce and funny lyrical barbs deserve. [Oct 2011, p.98]

It is difficult to argue, however, that the second batch of Pixies records have been as thick on quality. It’s a trend that The Night The Zombies Came does little to buck – though the spectacular surf-psychedelia of “Motoroller” could have made Bossanova, and the glorious thrash of “Oyster Beds” snuck onto Trompe Le Monde. [Dec 2024, p.37]

He’s less distinctive-sounding on the Oasis-style anthemics of “Got To Let You Go” and “Never Said Goodbye”, however. The boyish high register of Bugg’s voice lends itself most effectively to a certain ’60s beat group sound, which helps “All Kinds Of People” and the La’s-style rumble of “Breakout” get pulses racing more effectively. [Dec 2024, p.32]

The album's best tracks are those where Carlile strides beyond the confines of orthodox pop-country. [Apr 2018, p.24]

Cocteau Twins, MBV and Angelo Badalamenti are obvious touchstones for the narcotised, heat0haze beauty of Penny Sparkle, which might stupefy were it not for the stylishly gloomy "Love Or Prison" and the deliciously frost-bitten "Oslo." [Oct 2010, p.87]

The buoyant beats of his debut seem well-judged to invite a wiggle whether your "booty" is on the dancefloor or wearing a groove into you favorite armchair. [May 2008, p.94]

CD2 is a quirky new mixtape which proves he's still up to his old tricks. [Dec 2008, p.116]

There are some points where it skirts tweeness, and Wilkinson's voice is a little too airbrushed, but there's pleasure aplenty here. [Aug 2020, p.27]

It's far from hip, but unfairly dimissed. [Jun 2010, p.91]

He appears, so far as it's possible to tell, a competent ukulelist, and his parched baritone remains effective--but this doesn't to understate matters wildly, seems quite the best use of his skills. [Jul 2011, p.96]