A triumphant, ridiculous mess. [Dec 2014, p.73]

The tunes are so fragmentary, it resembles a '60s hi-fi demonstration disc. [Jul 2005, p.89]

There are overdubs, Auto-Tune and, most conspicuously of all, songs have been overlaid with Animal sounds. [Jul 2016, p.68]

Sounds astoundingly like an album from his '70s heyday.

My Love IS A Bulldozer is of a similar vintage [as 2005's Rossz Csillag Alatt Szuletett]. [Aug 2014, p.79]

Most of it so beautiful and effortless and easy, and no matter how much you want to look for ghoulish clues, it sounds like a great new record by someone spectacularly alive. [Jan 2012, p.83]

This is the sound of dashboard-tapping, local radio MOR. [Apr 2004, p.108]

Sonically exhilarating, yet the lyrical content remains as alluring as vomit on a Sunday morning pavement. [Sep 2001, p.104]

Son Volt have discovered a new sense of ambition, even abandon, on The Search. [May 2007, p.104]

Most of the radical reinterpretations land wide of T-Rextasy. [Oct 2020, p.39]

This, their sole album, is a curious beast, reminiscent of The Lounge Lizards or Devo, but defiantly its own thing. [Nov 2011, p.98]

They're marching to a '90s beat, like the internet never happened and fresh tools were never invented. [Jul 2011, p.77]

"Once I Was Pretty" and "The Disappearance Of My Youth" only confirm they know their territory and stick to it. [Feb 2010, p.93]

It's all rather tasteful and familiar, though, and a few jagged edges might snare passers-by. [Oct 2011, p.98]

Unashamed nostalgia at its very best. [Jun 2016, p.78]

For an album that strives to articulate the youthful pleasure-rush of love, drugs, and power, this is a worryingly pedestrian effort. [Mar 2007, p.75]

In spite (or maybe because) of their flaws, there's a vivid presence to tracks like "Heaven" and "My Little Universe" that fans will flock to and onlookers can't help but smile at. [May 2013, p.69]

[Guy Berryman's] radio-friendly approach adds depth without sacrificing detail. [Jun 2011, p.93]

It's an intriguing juxtaposition of the crunchy and the smooth. [May 2012, p.75]

It may just be a hobby or distraction, but on this showing they've got serious legs. [Jan 2013, p.80]

There's some fine original songwriting, particularly from Stills. [Jul 2016, p. 79]

When their formula works, like on the Brian-Wilson-joins-Radiohead splendour of "Thousand Thoughts" or the soul-weary, sci-fi lullaby "Blue Faces," they can sound untouchable. The lush, mechanised, bluesy trip-hop of "Driving Nails" and the sub-Underworld shouty gallop of "Stay Tribal" are diverting enough, too. But Archive's blind spot is a fondness for graceless pomp-rock. [Dec 2016, p.23]

If Time Clocks stays largely true to his love of power-trio blues-rock, he adds an inventive prog seasoning to "Mind's Eye" and "Curtain Call," and his determination to keep moving forward is commendable. [Jan 2022, p.21]

“Sex Magik” and “If We Get Caught” offer unashamedly lusty visions punctuated by agreeable glimpses of pop glitter. Otherwise, though, waspish, charismatically delivered lyrics are let down by workaday instrumental backing. [Jun 2022, p.25]

It's a shame that Night Light fails to cohere, especially since the suave, Roxy Music-like shades of Euro-disco in "Going Nowhere" and "In The Middle" suggest another route out of the stylistic quagmire of recent efforts. [Jan 2026, p.36]

While often inscrutable, it's seldom boring. [Jun 2006, p.110]

All good fun, but inevitably, without Taylor's Longing vocals, it feels a bit like playing a piano with the black keys removed. [Jan 2010, p. 112]

Air and Zero 7 are perhaps the nearest reference points. [Dec 2001, p.106]