Eiesland's emotive vocals and the elegant new wave inspired soundscapes sustain the bittersweet mood even when the songs lack stickiness. [Oct 2015, p.80]

The London trio have wheeled in so many trunkloads of technical expertise to embellish the material that it starts to stagger under its own weight. [Nov 2006, p.128]

The Spinning Top, a really very enjoyable record, displays some of the finest aspects of the guitarist’s talents, but chief among them, those that pertain to Coxon the folkie, and acoustic guitar stylist.

Jackrabbit is two songs and three interludes of grandiose, tuneless narrative better suited to Broadway. [May 2015, p.80]

Candyfloss choruses hamper Bubba's shots at a market-friendly take on his introspective style. [May 2006, p.122]

The Fever are shaping up as America's Franz Ferdinand, taking their cues from Buzzcocks and Wire. [Mar 2005, p.100]

Album two finds them pressing the Gilbert O'SuperTramp button with gusto. [Mar 2008, p.87]

The rest is country-tinged "roots-rock" fare, dispatched with an irritatingly blokeish. [Aug 2011, p.100]

It certainly recalls the space-age jazzers whose careers ran parallel to them. [Dec 2012, p.75]

A follow-up that is more knowing and nuanced, although the expansive dance grooves remain uninhibited. [Nov 2018, p.32]

Less obviously 'loops and samples' oriented than their previous work, Can You See The Music? neatly navigates an electronic/organic interface. [Feb 2003, p.82]

Weathered and intelligent, these songs resonate like folk antiquities from another age. Even more remarkably, they never sound forced. [Apr 2007, p.116]

A series of convoluted psych-pop romps, some drizzled with synth-sax, that perplex and please in equal measure. [Jun 2016, p.76]

Unsettling stuff--but weirdly life-affirming, too. [May 2007, p.103]

The second helping of this sitcom following Flight of the Conchords; Kiwi synth-poppers in New York, was almost as funny as the first, though most critics agreed the songs were weaker.

Bits and pieces, even within the album's successful tracks, are overcooked and threatens to capsize the project into mere camp or noodly instrumental preening. [Feb 2011, p.91]

They've pulled together their most digestible record yet. [Feb 2008, p.84]

It is still familiar as an Interpol album, but it's certainly their most refined, elegant and frightening release. [Oct 2010, p.97]

[It is] an eclectic patchwork of cinematic techno-rock and beat-heavy vocal tunes featuring stray members of the Chili Peppers, Warpaint and more. [Oct 2011, p.81]

Folds' heady tunes sparkle in these unconventional settings. [Oct 2015, p.75]

The country shadings are less obvious, but the mood has darkened, with cinematic strings wrapping themselves around the pedal steel. [Sep 2012, p.80]

Her weakness is the occasional lapse into 12-step blandness on the big--and rather underwritten--choruses. [Mar 2014, p.69]

No Tourists positively benefits from its echoes of past glories. [Dec 2018, p.30]

The resultant 37-minute piece is atypical of wither band's work, aiming for something more freeform. And meandering.... Still, when it hinges together, Words absolves itself. [Dec 2014, p.80]

There are some strong cuts but even Pollard, who appeared more energised on his recent solo LP Of Course You Are, sounds a little tired by the enterprise. [Jun 2016, p.74]

Angel Guts: Red Classroom is by turns darkly unsettling and unintentionally funny. [Mar 2014, p.85]

Aside from [Interpol]... the Yes groups sound just as narrow and constricted as their scuzzy East Village forebears. [Aug 2003, p.120]

Warnings/Promises was written on acoustic guitar and fleshed out in the studiio--a tactic that bears mixed results. [Apr 2005, p.97]