Magpies, for sure--but rather brilliant ones. [Jun 2018, p.30]

Though Return To center has its campy moments, he's removed his tongue from his cheek. [Jul 2019, p.24]

The songwriting largely delivers. [Dec 2006, p.127]

On cutesy likes of "King And Lionheart," they're closer in spirit to the plague of emoters loosed upon the world by the success of Mumford & Sons. [Sep 2012, p.81]

If the reheated Odelay-isms of last year's Guero felt like a tactical move in the wake of the soul-bearing torment of Sea Change, Guerolito has an equally hollow ring. [Feb 2006, p.86]

The reggae-tinged "Fol-de-rol" is a definite low, but elsewhere this is a competent, if unsurprising, effort. [Nov 2013, p.71]

Cardinal's fine harmonized vocals and muzzy, Byrds-like melodies are still intact. [Apr 2012, p.73]

Here, courtesy of producer Jason Falkner, his curious rock 'n' roll songs are given a crisp, clean production, a belssing which sometimes threatens to expose the - how you say? - idiosyncrasies of Johnston's singing. [Jan 2010, p. 115]

Doseone's keen ear for a pop melody and hip-hop's punch keep him on course. [Aug 2012, p.71]

TATE's debut touches on Stooges garage rock, sultry blues, Strokesian pop, all swaddled in opulent Americana. [Mar 2009, p.87]

It's a fascinating charting of a band's gradual evolution through experiment. [Aug 2012, p.93]

Sassy power ballads such as "Before I Sleep," "Sweet Love Of Mine" and "Not Good Enough" sit somewhat uneasily between Celine Dion and Stevie Nivcks. Yet as the album progresses, there's just enough to retain the interest of former fans. [Aug 2015, p.83]

Assbring has succumbed to the same fate as her country-woman Lykke Li, forsaking early charm for a vague sense of attitude that's largely devoid of presence. [Dec 2012, p.69]

His attempts to capture some of that city's pre-Katrina musical spark are satisfying, in parts - as well as recruiting former Meters bassist George Porter Jr to help out, tracks like "idiots In The Rain" capture the clatter of Bourbons St. However, Ounsworth's nasal vocals might still be an acquired taste for some. [Jan 2010, p. 116]

Sinister lyrics flit by almost unnoticed across the music's glistening sheen as Elbrecht hides in plain sight--an impressive conjuring trick that may nevertheless leave you a little cold. [Dec 2010, p.110]

Perhaps the most inappropriately-titled album since The Best Of Sting. [Dec 2003, p.116]

[Happy People] is a cunning, crackling, can't-keep-still classic. [Nov 2004, p.120]

Held together by a unifying drone, End Of The Day is a welcome if unusual addition to Barnett's catalogue. [Oct 2023, p.25]

Semi Detached is stuffed with perverse gear such as acid shanty "Deep In The Mine." [May 2015, p.71]

One for Cornell completists only. [Apr 2021, p.27]

Another delirious half-hour of, mainly, mannered asthmatic psychobilly. [Sep 2004, p.95]

Beast Moans can be drowsy at times... but it's punctuated by bursts of poetic insight and near-orgasmic glee. [Jan 2007, p.103]

These 10 supple, radiant songs blur the boundaries between African pop an funky American new wave with the same glorious ease as Talking Heads' Speaking in Tongues. [Sep 2011, p.84]

No prizes for adventurism, but bracingly fat-free, with attitude in spades. [Apr 2014, p.77]

Sometimes it makes sense. A lot of the time, it doesn't. [Sep 2016, p.74]

Much more inconsistent and rather less immediate [than 2017's Dear]. [Feb 2020, p.25]

This album really is just too good to be true. [Apr 2005, p.114]

It's an uninspiring ending to a record that it's best faces up to some pretty downbeat truths and thus seems to fit right into the current national mood.