Entertaining, largely forgettable. [Jan 2003, p.120]

Even when Orbit treads water--which by and large he is with this record--the ripples resonate beautifully. [Mar 2006, p.104]

The results will gladden devotees of fractured, footsore indie-rock. [Jul 2007, p.127]

Grand National lack Hot Chip's playful edge and by 'Joker and Clown,' thoughtful production is hitched to that last refuge of pop scoundrel--the Snow Patrol-style ballad. {Apr 2008, p.90]

Aside from sime sly gender-bending and lovable kitsch, there just isn't much interpretive room to roam. [Aug 2009, p.105]

"Runaway" and "Head Into Tomorrow" sound like the songs that Joy Division might have written if they'd hung out with Ewan MacColl. Good, but slightly disorienting. [Nov 2009, p. 81]

For the most part it works, the innate simplicity of the originals lending itself to makeovers, although country purists are advised to steer clear. [Oct 2013, p.77]

On their fourth album, all pretense at rootsy authenticity is gone--this is machine-tooled stadium pop, with producer Paul Epworth in the Brian Eno role. [Jan 2019, p.22]

The Replacements-inspired tattered intensity of the band's first two LPs is still present, but working with multiple producers has brought enough variety to keep the surprises coming. [Apr 2010, p.109]

Is so patently wrong in so many ways that it exhibits a peculiar strain of genius. [Jun 2003, p.92]

Gore's brittle choirboy voice lacks the depth and grandeur of Gahan's, but he still gamely takes on some adventurous choices. [Jun 2003, p.108]

What makes B&S great is conspicuous by its absence.... For completists only. [Jul 2002, p.101]

America's Sweetheart is petulant and self-pitying. Worse, it's self-righteous. Worse still, it's musically crass. [Mar 2004, p.98]

Altogether lacking... is the crisp production that powered early hits like "Boo!", replaced by a rather unremarkable R&B job. [Nov 2005, p.94]

With just two original compositions, it looks as if they may be running out of steam. [Sep 2005, p.108]

What has sadly gone missing here, however, is Farrell's voice. [Jul 2007, p.112]

Liverpool 8, which stands happily beside Starr's recent hits compilation, holds its own as a companion piece to McCartney's similarly vital "Memory Almost Full," and makes a nice day off from having to like Radiohead.

All very impressive, if hallow at its core. [May 2011, p.88]

It would be nice to see Dido with more adventurous producers. [Apr 2013, p.69]

For the most part this is worthy of a half-decent coffeehouse open mic night, nothing more. [Dec 2011, p.79]

On the cautionary rockabilly of "Put Out The Fire" and low-slung raunch rap of "Ain't No Rhyme," he demonstrates a firm grasp of his essential strengths. [Jul 2016, p.70]

There is an occasional excess of histrionics, particularly on "Boat Yard," but her teenage talent has found a convincing adult path. [Sep 2011, p.96]

Sickly aspiring novelist turned singer-songwriter Mikel Jollett can knock out a powerful anthem, but his relentless yearning choruses and chiming guitar harmonies ring rather hollow as signifiers of emotion. [Jun 2011, p.77]

For the most part, Laugh Now, Cry Later plays like an unsuccessful attempt to regain hood status. [Sep 2006, p.86]

This seventh studio album doesn't find them doing anything much different but still doing it with grit and conviction. [Dec 2009, p. 113]

Sadly, torrid synthesiser and billowing melodrama make it impossible to see any wry glances cast by Exile. [Apr 2013, p.73]

This complacent record from long-time drone lover and former Lungfish guitarist Asa Osborne gets the recipe badly wrong. [Jun 2011, p.103]

It's dumb, downhome fun, and deliberately gizmo-free. [Jul 2006, p.86]