The record arguably lacks a killer track, Chrissie seemingly on autopilot throughout, although the sultry "In A Miracle" contains the occasional echo of past glories. [Jul 2014, p.76]

A somewhat humourless affair. [Jun 2006, p.115]

Ruthless schmaltz is, predictably, the order of the day. [Jul 2012, p.69]

Gahan is a way off from being a David Sylvian–-but not as far as you might think.

Their reformation record is a surprisingly substantial pleasure. [Apr 2019, p.36]

The songs often seem over-anxious to build to show-stopping choruses. [Nov 2005, p.94]

There's a little too much preciousness here. [Oct 2014, p.72]

What sets his debut apart from other similar singer-songwriters are the cinematic, electronic textures that he weaves around his work, but also the off-kilter material. [Aug 2017, p.32]

The result is a hushed, spectral delight. [Jul 2018, p.37]

It's all very tasteful and refined, but ultimately feels a little bloodless. [Feb 2024, p.30]

Things get increasingly glum and disenchanted as the album grinds towards the cop-out of "The Troubles." [Dec 2014, p.81]

Chops-wise, all is unimpeachable--but one ends up craving novelty. [Sep 2011, p.98]

Aiming for Springsteen-like glory, they settle instead for overcooked melodrama on parade of would-be anthems sufficiently over the top to make Muse envious. [Nov 2012, p.76]

There is little to these songs besides Mark's Lennon-like voice and an unobtrusive piano and guitar. [Apr 2007, p.113]

Walla creates intricate, fugue-like patterns featuring guitars, analog synths and harmonies, enabling his spiralling melodies to unfold progressively while also providing a cushion for his diminultive but genuine vocals--making for a record that's taut and affecting. [Feb 2008, p.95]

Dr. Dee is the most compelling record Albarn has made since Blur's 13; his first proper solo record, with all the emotional engagement that implies. [Jun 2012, p.63]

A faithful if condensed cover of Yes' "Heart Of The Sunrise," sweetly sung by Drozd, concludes what is essentially a likeable frivolity, and a stop gap before their next Flaming masterwork. [Sep 2014, p.73]

While they sound no less vital than their infuriatingly profitable contemporaries, they sound no more, either. [Oct 2007, p.101]

Isn't quite the show-them-who's-boss return that JSBX should have come up with. [May 2002, p.110]

The results are charming, melancholy and achingly beautiful. [Jul 2012, p.84]

They produce big pop hooks via skewed My Bloody Valentine guitars more reminiscent of Giant Drag, but with the abrasiveness replaced by sugary harmonies. [May 2007, p.93]

Most convincing are versions of Xiu Xiu's thunderously anthemic "I Luv The Valley OH," Clinic's irrepressible "Tomorrow," and intimate wordiness of David Thomas Broughton's "Ambiguity." Coldplay's "Hurts Like Heaven," however cannot shake off its provenance. [Dec 2013, p.72]

This is a finely polished album, but low on guts, grit or urgency. [Nov 2007, p.129]

The spread, encompassing piano and mellotron, is pretty; the songs rather maudlin. [Sep 2013, p.85]

The Cairo Gang's superb, weighty, meticulous album still manages to pack a mighty punch. [Sep 2013, p.85]

The best songs are the ballads. [Jun 2016, p.79]

It's less dynamic, but the prog-folk flavours remain intact, with penny whistles and acoustic guitars central to its two sentimental, sometimes meandering halves. [Feb 2017, p.33]

Ultimately, too much easy-listening stoner-tronica makes Prism yet another pleasant but inessential late-career Orb album. [Jun 2023, p.35]