At times, as on "De Javu," it's a dazzling new dimension, but some may await his return to more conventional zones. [Mar 2012, p.90]

That band’s ambition is intact is remarkable--that they’ve made an album that captures the zeitgeist is maybe even more so.

[Moby] draws on a long list of collaborators to bring character and depth to his distinct brand of ambient techno, with frequently haunting results. [Oct 2013, p.71]

It all sounds like a band working out who they are. [Sep 2011, p.88] [Review of UK release The Future Is Medieval]

Arch novelty rather than post-modern profundity, then, but it's a damn sight smarter than the Barron Knights ever were. [Feb 2010, p.84]

The album sags in the middle, descending into slick electro-rock territory worryingly reminiscent to Garbage, but the good songs are terrific. [Feb 2012, p.81]

As the title suggests, No Hope, No Future is rather short on vim. The wiry, Wire-y dynamics are mostly presnt and correct. [Feb 2010, p.86]

Peer behind the pose, owever, and you'll find a sparky outfit whose towering tunes, such as 'Sun comes Up,' match their lofty ideas. [Sep 2008, p.115]

The Chi-Lites' "Stoned Out Of My Mind" is ruined by needless melismatics, and the Broken Bells cover is no match for the White Stripes track on Vol. 1. But Gems include a half-tempo version of the Womacks' "Teardrops" and a stately reading of Eddie Floyd's "Nobody But You." [Sep 2012, p.86]

Only the softer songs... display any of the heartbroken mystique that once made Carrabba compelling. [Sep 2006, p.79]

A lucid and accomplished departure. [Mar 2015, p.76]

Basically, it wants to be the Stones but ends up a bit Tom Petty. [Sep 2002, p.103]

Insular, claustrophobic, projecting a brittle vulnerability, Peace & Love requires some listner patience. [Mar 2010, p.86]

Even fans of their main groups might feel that its sole purpose is to emphasise the 'trial' in 'terrestrial'. [May 2006, p.124]

A Joyful Noise strikes a healthy balance between tears-on-the-dancefloor hi-NRG and Gossip's bluesy swagger. [Jun 2012, p.73]

Whether you love or hate The Research will depend upon your tolerance for cheap keyboards. [Mar 2006, p.103]

Amid the cornball sentiments and bizarre arrangements elsewhere, here against the odds, a touching moment presents itself. [Mar 2010, p.96]

Although mercifully less in line with the Kooks/Courteeners hegemony than their first album, The Ride is stodgily dedicated to the Real Rock cause, even while it's shooting for Alex Turner's autobiographical cool. [Jul 2016, p.71]

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

A poignant folk-jazz take on Billie Holiday's "God Bless The Child" is the standout and it's all impeccably tasteful - but in a threadbare kind of way. [Apr 2020, p.37]

The choral refrain of the title hook, meanwhile, imposes collectivity on the query--just about the only time on the whole of Storytone that the horizon stretches further than Neil's emotional backyard. [Dec 2014, p.79]

Much of this flaccid digi-guitar funk sounds like rough ideas Daft Punk rejected for Discovery. [Jun 2002, p.122]

Deeply average. [Apr 2004, p.91]

An ultra-gentrified karaoke set. [Apr 2014, p.77]

Not wholly satisfying. [Mar 2006, p.102]

His own production work has been inconsistent. [Feb 2009, p.78]

An oddly one-note follow-up. [Sep 2012, p.76]

Too many artists on this well-intentioned and occasionally even enjoyable tribute album seem to forget they're country artists. [May 2023, p.38]