Though this showcases the group;'s customary modular wit, it doesn't give Laetitia Sadier much to work with tune-wise. [Dec 2010, p.106]

That Gedge remains, at 51, stranded lyrically at a romantically disappointing post A-Level party is less cause for celebration. [Apr 2012, p.88]

The results can be ponderous, though Franklin's melodic smarts save things. [Jul 2009, p.93]

As unoriginal as his previous five, yet still entertaining. [Mar 2003, p.106]

Subtle this isn't, but ironically, for a band once compared endlessly to Interpol and Editors and their Joy Division-inspired brooding indie, White Lies Have probably shown more versatility and evolution than either on their latest. [Apr 2022, p.36]

It seems something of a hollow exercise. [Feb 2006, p.72]

Their conceptual hinterland is sometimes more interesting than their clobbering racket, but both are exhilarating in places. [Mar 2021, p.29]

The band have come a long way since 2000's reissued Dead Meadow, but some of that early bombast and arresting variety in dynamics would not go amiss, even if, individually, Warble Womb's 15 songs. [Dec 2013, p.67]

It would have been much more satisfying had she and Cannon stuck with the style of the songs that bookend the album. [Apr 2017, p.32]

Their second album is a little too comfortable. [Mar 2016, p.73]

Let's Go eat A factory is not a brilliant album and of itself, but it does cast guided By Voices in a slightly different light. [Feb 2012, p.95]

The distinction between their sensibilities remain strikingly apparent. [May 2018, p.33]

The ramshackle, campfire vibe is endearing, bu this is neither a fully immersive experience like Dead Man or a third LP with POTR. [Jun 2018, p.36]

Occasional similarities to Placebo may be unfortunate, but they are countered by the record's bracing directness and infectious vitality. [Dec 2010, p.109]

Hints of "The Basement Tapes" glimmer through pieces like 'Win Park Slope' or 'Airstream Driver,' while John Martyn and Nick Drake ride again in the mystic folkery of 'Little Pieces.' [May 2009, p.86]

The passion evident throughout help disguise the feeling we've been here before. [Jul 2009, p.109]

Inarguably easy on the ear, but short on real emotional pull. [Nov 2003, p.118]

Waits is still taking more risks than most US 'singer-songwriters' of his generation, and parts of this album rock righteously. It's just that some of Waits' musical modes... have been done before, and much better. By him. [Nov 2004, p.110]

The result, inevitably, feels much more like a live band at work. [May 2009, p.95]

It creates more cohesion than on previous Chicano Batman albums, but it also has the consequence of watering down the band's dynamic aesthetic. [Jul 2020, p.29]

Wooden Shjips continue their work in simple but effective grooves, around which the band discursively noodle. [Jun 2009, p.113]

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.

"high Road" is melodic enough, for sure, and Mercer is a clear-voiced singer, but the album's interest palls when Mouse's answer to life, the universe and everything proves to be "pedestrian breakbeat." [Apr 2010, p.83]

The deviations from the general upbeat mood vary - "Louder" is a clunky if well-meaning protest song, but the melancholy piano-led ballad "Marvelous To Me" is a thing of downbeat beauty. [Mar 2022, p.32]

This is a cool dance album... but Tiga lacks that all-important 'X factor'. [Mar 2006, p.100]

Quality is spotty, though. [Feb 2012, p.106]

Unsophisticated but utterly infectious. [Feb 2012, p.102]

Like the stormy contents of 2015's Transfixiation, songs like "Never Coming Back" have no lack of velocity and ferocity, though APTBS often fall between two poles, being not quite able to deliver memorable songs yet unwilling to let the music dissolve into purer forms if turbulence. [May 2018, p.23]