His tools may be blunt, and too many tracks sound like unfinished sketches, but Zomby manages to summon a uniquely unsettling atmosphere. [Aug 2011, p.107]

There are mooments... when you get the feeling The Feeling will soon achieve more. Or rather, MOR. [Jul 2006, p.97]

Guitarist Marty Stuart re-recorded his parts, and contemporary shading has been added by Buddy Miller and Jerry Douglas. They don't completely erase the synthetic qualities of the sound, but it's clear that Cash was in fine voice even if the material didn't always suit him. [Apr 2014, p.89]

A vague air of missed opportunity hangs over this frustratingly short snapshot. [Dec 2001, p.124]

Sadly, Nas brings self-importance to "Strong Will Continue," that's encumbered his latter career, but it's the exception on a broadly fruitful collaboration. [Jul 2010, p.115]

Youngs' atonal yelpings and the bizarre tangents his big guitar shapes take won't be to the tastes of those who like their music a tad less askew--but acclimatise yourself to Young's off-kilter take and there are some rewards here. [Aug 2011, p.107]

Neither embarrassing nor unenjoyable, then, but still an exercise bearing a cautionary sting. [Nov 2005, p.98]

Too often Cunningham fails to develop his tracks, which start thrillingly only to fizzle out. [Jul 2010, p.101]

It'll be nice on a Netflix drama, but removes much of the tension between ambition and accomplishment in which melancholy indie rock traditionally thrives. [Jul 2020, p.30]

When it works, it doses oso brillantly--but the preponderance of bog standard indie rock elsewhere is sadly less engaging. [May 2009, p.89]

Edwyn Collins is the perfect producer to lend the jaunty jangles an edge of both darkness and charm. [May 2011, p.91]

Too often, though, these chant-a-long anthems are too damn chirpy for their own good. [May 2012, p.71]

Power pop without the escapism. [Apr 2005, p.105]

This is certainly the pair's most immediate record. It's also their least appealing. [Jun 2004, p.91]

If the piano melodies lapse into sameness, Russo sprinkles John Barry and Carpenters motifs on top to keep it trembling. [Feb 2005, p.74]

It's a less daring enterprise overall. [May 2004, p.106]

Virtually every song repeats the same trick, as the fervent but tuneless bark of singer Ellery Robert begins to grate. {Aug 2011, p.107]

All round, this is filled wiith pleasant rather than memorable tunes. [Oct 2008, p.113]

It's a solid rather than spectacular effort. [Apr 2012, p.87]

The Wilderness is more like a Junkies album as we'd previously appreciated them. [May 2012, p.71]

For chunks of the album there's an unshakable feeling of familiarity. [Jul 2018, p.27]

It's pleasantly winsome, sweetly aranged, but Anna Persson lacks the lugubrious voal presence of Traceyanne Campbell, and you long for sme of the sauce r spirit that inspires a group to name themselves in honour of a Serge Gainsbourg song. [Apr 2010, p.97]

Jarre's own pastel-shaded musical signature sometimes gets lost in the crowd. [Nov 2015, p.77]

Veers dangerously close to tastefully understated ethno-trance wallpaper on chiming, drowsy throbbers like "Zemlya." But thankfully Edwards is too smart to be seduced by the shallow allure of pointless beauty. [Feb 2019, p.32]

Ford's transporting voice is let down by tunes that are anything but. [Aug 2010, p.92]

You're left wishing these jazz quintet pieces breathed more. [Aug 2022, p.26]

Ultimately, the record is a tribute to McClure's charisma and unswerving self-belief.

Not one original note, but big fun for feedback fetishists. [Mar 2015, p.69]