As powerfully evocative as a French arthouse flick. [Sep 2002, p.116]

Despite the 28-year gap since they first disbanded, this lineup resumes as if it were only yesterday, in a joyously abrasive, renegade reggae style with lyrics that don't mess about. [Dec 2009, p. 113]

A fairly conservative affair. [Nov 2006, p.101]

Album four sees tracks pushing more into more arcane territory, but otherwise we see Zero 7 putting a subtle electronic spin on Elton John, Syreeta, Pentangle and Nick Drake. [Oct 2009, p.123]

Not hopeless, but hopelessly self-indulgent. [Jul 2005, p.94]

The View's handicap is the sheer lumpen ordinariness of their songwriting. [Apr 2011, p.100]

The sparkier La Liberacion goes some way to restoring their reputation as festival favourites. [Sep 2011, p.81]

It's all over the shop, but worth a rummage. [May 2026, p.33]

Guitar band goes synth' isn't going to stop any presses, but this new phase perfectly suits Editors well. [Nov 2009, p. 84]

Cool and clever without being contrived, this is sharp, commercially astute pop music that ebbs and flows to the rhythm of a very human pulse. [Jan 2011, p.84]

It's the album's deft balance between Sitek's freewheeling and darkly ambient aesthetic and the familiar sub-Beatles melodies that make BE a bold leap forward in the mould of Paul Weller's recent psych-inspired reinventions. [Jul 2013, p.71]

This is scant compensation for his lack of fire, lyrical inspiration, or indeed anything that might distinguish him from his legion of peers. [Mar 2008, p.85]

Much of it is endurance-defyingly dull. [Jul 2006, p.84]

The music on this debut is nutritionally meager powerpop. [Nov 2008, p.120]

Other than the limp "Money," they ["Lose Control" and "Push Yourself"] pull these off pretty well--they're certainly more memorable than bog-standard guitar anthem "welcome To The Rave." [Mar 2013, p.69]

As an artistic exercise, it's interesting enough. [Nov 2023, p.33]

The albums three producers create a gloopy mix of mid-'80s soft rock and air-punching choruses which lack the urgency of the Killers, while the gambling metaphors and religious images quickly irritate. [Oct 2010, p.94]

All and all, it's a little too cool for its own good. [Feb 2012, p.97]

The guests are more intriguing than the material. [Dec 2002, p.152]

The truth is, this is actually rather safe music. [Apr 2008, p.94]

[An] elaborate, sophisticated collection. [Sep 2012, p.79]

The results are suitably polishes, but their pleasures are ephemeral. [Mar 2016, p.71]

Assured, yes, but there's very little rebellion here. [Dec 2018, p.23]

Zeitgeist comes on with a vicious energy, a jugular-grabbing intensity.

It's an odd confection, part digitally-lush Spector-pop, part Dido-esque thirtysomething ennui. [Feb 2006, p.68]

It's certainly a bold move that will either send them stratospheric or sink them completely. [Feb 2013, p.71]

Not everything works as well, but its entertaining enough and a portion of proceeds go to charity. [Dec 2014, p.76]

This large, noisy album will probably satisfy Embrace enthusiasts while continuing to baffle those who can't see the point. [May 2006, p.105]