Larry Klein places the vocals disconcertingly high in the mix, but it effectively emphasises Chapman's poetic sensibility. [Dec 2008, p.86]

It's a perfect match with producer Richard Hawley, who here channels his love of epic reverb pop to more interesting ends than on his solo albums. [Dex 2008, p.86]

Pleasant, but hardly original. [Dec 2011, p.90]

It takes a while to get over that initial disjuncture, and the title track is a headache-inducing mes that sounds like a Bo Diddley rhythm played on electronic toys. Other tracks slip down quite appealingly. [Jul 2016, p.76]

These songs achieve something like topicality, sounding all the more invigorated and just plain fun for having one foot in the past and the other in an uncertain present. [Aug 2016, p.68]

Now in ihis late sixties, Miller's white soul voice and economical guitar-playing still pack a punch, while veteran R&B singer Sonny Charles assists with some well-placed harmonies. [Aug 2010, p.88]

What thesy have done is make the odd generational shift, acknowledging Boston, Steppenwolf, Alice In Chains and The White Stripes in their search for the ultimate cosmic-blues groove, which on 'In The Morning,' they find. [Nov 2009, p.113]

This time around they've learnt to loosen up slightly, enlisting the help of Amber Webber from Black Mountain and adding a pleasingly West Coast sensibility to what was previously a rather monochromatic Americana mix. [Sep 2009, p.81]

Aside from the Ryan Adams-esque "Bonfires." on their second album the more scruffy, down home elements of Alberta Cross' 2009 debut have been buffed to a stadium sheen. [Sep 2012, p.71]+

The songs are often gently ironic '70s orchestral pop with overtones of striped caps and Edwardian moustaches. [Aug 2009, p.90]

[The interviews with dock workers, WWII veterans and itinerants whose stories inspired nine of the 12 songs make] little material difference to his music. [Feb 2014, p.77]

You wish the pace would pick up after a while but then again, what My Sad Captains do, they do beautifully. [Apr 2014, p.78]

While the calibre of artists lining up to pay tribute to Macca on this two-disc set is undeniably impressive, there's little in the way of surprises when it comes to execution. [Dec 2014, p.83]

At just 25 minutes, it’s very much a listen-through, though the percussive clattering and ominous synthesiser hum of “Names Make The Name” constitute a standout. [Apr 2024, p.41]

A couple of sweaty, sybaritic slowjams prove that his libido hasn't waned, but his mojo undoubtedly has. [Oct 2007, p.101]

Finds her in typically literate form. [Mar 2002, p.115]

Like recent Tindersticks albums, these ballads need time and attention before sounding tailor-made for misery. [July 2002, p.103]

Draws heavily on such masters of six-string cinematics as The Church, The Jesus & Mary Chain and Spacemen 3. [Apr 2003, p.121]

Against all odds, St. Anger constitutes the cutting edge of commercial yet aggressive heavy rock in 2003. [Aug 2003, p.106]

There are still enough awkwardly anthemic choruses to unsettle their detractors. [Sep 2001, p.92]

Maybe it's not Albini's fault that El Rey lacks the melodic thrust of earlier projects, but this is wiry, unappealing fare. [July 2008, p.114]

In short, a glittering sign reading "business as usual"--even if it’s not a return to adventurous Kylie gold.

Intriguing. [Jul 2007, p.116]

Producer Joe Chiccarelli curbs their proggy tendencies in favor of chromed-out, geometrically precise arrangements embedded with bull's eye melodic and instrumental hooks. [Jul 2010, p.115]

A great idea, brilliantly executed. [Sep 2019, p.37]

It does still summon some of the spirit and occasionally the joyfulness that should attend a first record. [Mar 2011, p.90]

It's for fans only, but that's where Crush Songs' power lies. [Oct 2014, p.76]

The giddy rush of "I Citizen The Loathsome" and spectral funk ot "To" in particular begin a new page in electronica's tatty textbook. [Aug 2006, p.108]