The glossy production and soaring choruses make it as resolutely user-friendly as her previous albums. [Sep 2012, p.81]

Plodding covers of "The First Time Ever I Saw Your Face" and "Only Love Can Break Your Heart" are gratuitously dull and, somewhat revealingly, the most rewarding tracks are probably Runga's two original compositions, seemingly appended as an after-thought. [Feb 2017, p.27]

Disco is too much of a safe, shiny, frictionless crowd-pleaser to deliver much more than mildly entertaining retro pastiche. [Jan 2021, p.31]

Accomplished but oddly characterless, and despite the high hook count, forgettable. [May 2018, p.30]

Brisk playing compensates for some unremarkable songs. [Sep 2002, p.103]

Kate St. John's arrangements are suitably elegant, but most of the performances here are proof that Drake's gaunt, under-performed songs do not welcome wobbly bottom-lipped reinterpretation. [Jun 2013, p.81]

Too often the crossover strategy mires these songs in the most banal cliches of dream pop and arena grunge. [Sep 2018, p.29]

It's sad to hear all their youthful fizz go flat so soon. [Sep 2018, p.28]

Once a songwriter with a deft facility for catchy hooks, his melodies droop under the lethargic tempos, turning his self-deprecation into something like self-absorption. [Jan 2019, p.22]

These sparse, string-based scores straddle the line between wannabe ethereal and grainily earthy. [Jul 2002, p.106]

Some great moments, but too much filler and too few anthems. [Mar 2002, p.99]

His voice remains an effortless marvel, largely wasted on this slick but trite material. [Feb 2016, p.75]

There's no denying the pair know their way around a perky tune, but their songs are unmemorable because their sound is so heavily recycled. [Jul 2016, p.82]

It's a shame that Night Light fails to cohere, especially since the suave, Roxy Music-like shades of Euro-disco in "Going Nowhere" and "In The Middle" suggest another route out of the stylistic quagmire of recent efforts. [Jan 2026, p.36]

The music is largely uninteresting, a bland hotchpotch of dub-flavoured electronic styles. [Feb 2024, p.34]

There are strong moments, from the sweet, mixtape-ready “Backup Plan” to “Sweet Tooth”, which brings pep and rockier guitar. But Moss badly needs a bit more Upside Down energy. [Oct 2022, p.29]

Gone, for the most part, are the aching ballads in favour of identikit stadium rock epics somewhere between Simple Minds and Coldplay, overlain with '90s dance beats. [May 2014, p.73]

A collection of songs that are superficially alluring but, bar standout "Morning Comes," rarely captivating. [Apr 2019, p.36]

This is a pretty exhausted soundworld. [Jun 2018, p.37]

Attempts to blend leftfield electronica, Broadway balladeering and voguish trap beats are technically impressive but stretch his minimal melodies to [the] breaking point. [Apr 2019, p.26]

Letissier is a fascinating and riveting performer, but this passion project feels unfocused and undercooked. [Mar 2023, p.26]

Slow-shifting movements and droning textures show McCombs choosing familiarity over fresh adventures. [Feb 2003, p.75]

It lacks the debut's punchiness, and a compelling thread to bind those disparate elements. [Oct 2014, p.67]

[A] largely tentative set. [Dec 2016, p.38]

The tasty guitar work is undercut by Wilson's heavy-handed lead vocals and the partners' cliche-ridden lyrics. [Nov 2017, p.26]

The result is endearingly scattershot. [Dec 2018, p.39]

An amusing curio, although you're unlikely to listen to it more than once. [Jan 2015, p.75]

Still gauche and somewhat silly the Moseley mods continue to rehash the first two Traffic albums expertly. [Mar 2013, p.76]