An irreverent and enjoyably silly listen. [Mar 2003, p.100]

Demolition is further proof that his creative instinct is still intact. [Album of the Month, Oct 2002, p.100]

She's a brilliant reinterpreter and sounds far happier in Raitt territory than she ever did as a Morissette clone. [Feb 2003, p.84]

A considerable advance on predecessor 604.... This is sublime, subtle, subversive stuff. [Dec 2002, p.150]

An album of flashing wit and giddy ambition. [Oct 2002, p.110]

Amply demonstrates the man's craft, the inherent strength of apparently fragile blooms added extra ballast by painterly shades of guitar, piano and strings. [Apr 2003, p.105]

Squire's voice is awful, while his music and lyrics are those of a busker. [Nov 2002, p.113]

An adventurous solo outing. [Oct 2002, p.112]

If Doe intended to create an interlocked set of pieces that sustained a mood of pensive reverie, he succeeded, though there's a marked shortage of ear-grabbing, individual songs. [Mar 2003, p.95]

This kind of hackneyed loungecore grammar sometimes sounds timeless and inspired, of course, but Adamson has a tendency to crowd routine melodies with superfluous guitars and clumsy beats. [Oct 2002, p.102]

The perfect soundtrack to summer in the city. [Oct 2002, p.111]

A magnificently rich and confident debut.... This is how Fischerspooner should have sounded. [Dec 2002, p.142]

Her simple, repeitious music is predominantly listless and washed out. [Jun 2003, p.102]

Seven tracks, 31 minutes, and not a duff second in sight. [Oct 2002, p.104]

Very pretty but as predictable as Haven's guaranteed elevation to the Indie Premiership before the summer's through. [Feb 2002, p.118]

[A] breathtaking, virtually flawless album. [Sep 2002, p.104]

May well come to be regarded as the best British rock album since OK Computer. [Sep 2002, p.118]

Textured and complex. [Oct 2002, p.108]

The most original debut by a Manchester band since Squirrel & G-Man Twenty Four Hour Paty People..., maybe even Unknown Pleasures. [Sep 2002, p.116]

Recalls the more amusing moments of Momus and Stereolab. [Nov 2002, p.116]

Their mischievousness is still palpable, but it's shot through with purpose, gumption and spectacular riff-raunch action. [Sep 2002, p.114]

A candidate for country album of the year. [Nov 2002, p.130]

A refinement of the country/folk/reggae/rock amalgam The Mekons have pursued for years. [Oct 2002, p.108]

One of the most adrenalising albums you'll hear this year. [Sep 2002, p.110]

The album's eight supple, textured tunes suggest Cornelius stripped of his art-jazz awkwardness, or even the molten sugar rush of My Bloody Valentine slowed to a beatific calm. [Nov 2002, p.128]

Spoon's secret is that this tension is never quite released, the martial beat never breaks down, full rock music never quite kicks in. [Oct 2002, p.120]

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

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