Rhymes hasn't sounded this energised in years. [Sep 2006, p.76]

Her lyrics lack both Wino's wit and realism, and her orchestral-pop backdrops are pallid. [Feb 2008, p.89]

The standard is so consistently high, sides so conclusively split, even after six years' familiarity with his schtick, that genius is the word. [Jan 2005, p.116]

Taken together, the songs constitute a potent set of surging alt.rock euphoria and more sombre ambience. [Jun 2019, p.24]

Is often guilty of over-earnestness and sentimentality. [Oct 2020, p.27]

The songs are raunchy and resentful, idealising and vocally aching for a lover, or wrestling with more complex feelings. [Nov 2022, p.26]

The record is as intimate and low-key as an evening home with friends. [May 2015, p.84]

Phil Manley's first solo album presents as a homage to the spirit and sound of mid-'70s German Electronic rock. [Feb 2011, p.90]

For all the dazzling dynamics, much of it recalling the '90s from shoegaze to Sonic Youth, the writing leaves little lasting impression, and Brian Aubert's affected vocals drag things down. [Jul 2009, p.97]

He's lost his way a little bit here. [Jun 2009, p.109]

Fandango, their fifth album, is built of the same stuff [as 2011's Buffalo], though with a grander sense of scope and ambition. [Jun 2013, p.78]

A solo album that sounds like a series of song sketches. [Feb 2009, p.89]

The lighter moments are more endearing. [Dec 2016, p.28]

Life Processes sounds like mice playing Hundred Reasons covers. [May 2008, p.95]

It's rich, beguiling stuff. [Mar 2009, p.78]

They've wrangled a tougher, just weird-enough synthesis, with "Trails" borrowing Yeah Yeah Yeahs' brio and "Perfectly Crystal" likely to impress fans of both Pet Shop Boys and Flaming Lips. [Mar 2011, p.83]

We've heard too much of this before. [Jan 2003, p.119]

The good news is Young has found himself a different kind of voice and some fresh inspiration. [Sep 2003, p.116]

Portentous electronic rock made for audiences that stretch out as far as the eye can see, and choruses pilfered from a mid-'80s installment of Now That's What I Call Music! [Sep 2013, p.97]

Sadly, though, nothing on The Ting Tings debut album quite lives up to that promise [of 'That's Not My Name']. [June 2008, p.94]

The charms of this deceptively nifty record slowly revealed with each spin. [Feb 2010, p.107]

Their profoundly boring ninth album resembles sketches toward another unnecessary Stone Roses comeback. [May 2016, p.71]

The problem comes when you delve beneath the sonic experimentation and listen to Marela's whimpering lyrics--a litany of drippy, desperate neediness. [Sep 2015, p.77]

True, every song here is virtually identical, but at least it's a great song. [Apr 2008, p.94]

Forever so takes in spectral balladry, rousing stompathons and incursions into jazz and olde English madrigals, to consistently bewitching effect. [Jun 2012, p.74]

The result is a record that's primarily dedicated to beauty but with an engagingly playful spirit. [Sep 2012, p.83]

Guests like Emiliana Torrini and Shinehead help make this that rarity: an electronic album with personality. [Dec 2002, p.133]

Everything's The Rush plays it safer, eschewing the Cocteaus-esque material and dance-pop for a more route-one, stadium approach, hoofing it up to the big chorus. [July 2008, p.93]