It's tasteful, but not much more. [Feb 2007, p.78]

There are moments--notably 'You Can't Count On me'--but the band behind him are wringing diminishing returns from their polished country-rock. [May 2008, p.92]

Two years of constant touring, countless festivals, a loss of a member (bassplayer Ira) and the addition of Gwen Stefani's producer, and something's gone awry.

Make the most of these subtly funked-up arrangements with their horns and clarinets and bebop percussion. [Jun 2003, p.104]

It's a sweet-natured and seemingly uncynical exercise which, while pretty enough, brings nothing new to these well-worn ditties. [Jan 2012, p.101]

Her repetitive riff in the early section teeters on the ponderous, and some of the electronic production is mere promotional muzak--but there are stunning passages here. [Apr 2013, p.65]

Less ambitious than the album that spawned it, but a worthy companion piece nonetheless. [Nov 2013, p.71]

The eclectically banging result is an invigorating circuit-workout through righteous rage, swinging from livid EDM beats with Steve Aoki and Rise Against's Tim McIlrath, to furious rap with Big Boi, Killer Mike and Bassnectar. [Nov 2018, p.28]

The sheer depth of ideas is impressive, but the result is exhausting. [Jun 2020, p.33]

Frequently lovely but a fair few steps short of compelling. [Apr 2005, p.112]

The best moments tend to come where the reggae is at its most full-on. [Jun 2014, p.80]

Faun Fables sound more shamanistic than ever. [Sep 2016, p.74]

Sensibly, Sumner steers clear of Caucasian reggae on her surprisingly strong debut, opting instead for polished, sullen synth-pop with husky, La Roux-style vocals. [Nov 2010, p.93]

It's a grim assemblage of cliche from the title downwards. [Feb 2011, p.90]

[Robinson] has certainly indulged his preference here, mixing M83-style synth-pop with Daft Punk/Justice bangers and adding assorted nu-rave and EDM tropes, to end up with not much to call his own. [Sep 2014, p.76]

The devil is in the detail--and Skinner's devilish side is his most appealing.[Oct 2008, p.108]

Manicured cuteness, trite melodies and a tendency to banal, genial navelgazing leave an impression of carpet-bagging slackers contriving decorous but vapid Tourist Board pop. [Mar 2013, p.79]

Manson can still whip up an appealingly vengeful turn of phrase, but they retain a tendency to sound stiff. [Jun 2012, p.73]

The occasional glint of mandolin and fiddle fails to alchemise Time's glossy LA rock, or excuse some shocking lyrics. [Jun 2013, p.79]

Perfect background music for those late-night venues that tend to overdo the ultra-violet lights. [Mar 2008, p.96]

Not wonderful, but certainly frightening. [Jul 2013, p.75]

A heavy trip indeed. [Apr 2015, p.71]

"1832" is a departure, with emotional unease preserved in glowing folky amber, but it's an inspired curveball on a largely routine course. [Jan 2017, p.32]

The standout tracks reject slick studio polish. [Aug 2017, p.38]

Over 11 tracks the formula admittedly feels a little one-note and limited in scope, but the pair's gift for melody shines nonetheless. [Mar 2018, p.25]

It would be unfair to expect a "Whipping Post" from Devon Allman, Duane Betts and Berry Duane Oakley on their first outing, cut live to tape in Muscle Shoals, as they seek a comparable energy, but they manage to capably shoulder the responsibility rather than sinking under it weight. [Aug 2019, p.25]

As the strident piano ballads and flatly aggressive production pound on, though, it's more AGT than Kanye. [Jan 2020, p.25]

Pocket Symphony drifts inconsequentially along. [Apr 2007, p.92]