Apologists will see it as a paranoic update of the doom-rock blueprint laid down by King Crimson and Amon Düül. Anyone else will be reaching for the paracetamol.

The songs aren't works of staggering compositional genius, or bursting with heartbreaking lyricism. But as air-grabbing alt.rock fun instilled with a charming honesty, there's an ocean of possibility yet for these fine young fellows. [Sep 2014, p.94]

There is the occasional flash of pop brilliance - notably desert-rock nugget Arabesque - but for non-fans Coldplay this dose of Everyday Life will be one they can easily do without. [Jan 2019, p.87]

Trent Reznor's past production has leaned Murphy towards an industrial sound, which Youth's turn as producer adds techno overdrive to. [Summer 2014, p.91]

By occasionally confusing drabness for darkness, they've fallen short of their own lofty standards. [Aug 2018, p.86]

Highlights are the punchy pop-metal of Got The Power and the greasy glamorama of The Reverend, replete with satisfyingly fuzzy guitar, but Zipper Down misses as much as it hits.

Their punk training doesn’t quite lend them that particular grace. As a result, this can feel like a bit of a rough ride in places, albeit an intriguing one.

While frontwoman Ritzy Bryan remains a force of nature, there’s a lack of eureka moments this time, leaving us with a slow-burner rather than an inferno.

It's wise, but rhythmically, musically, it feels Byrne's age. [May 2018, p.91]

The Anglophile lingo (‘He’s such a dear boy’), opiated nursery drawl and woozy organ of Charlie’s Lips is deep in homage to Barrett’s Floyd, just as the Hammond in You Never Learn is to Al Kooper on ’65 Dylan duty. More interesting is the tendency to trancey, transformative repetition on the likes of the autobiographical, sick-bed sweaty Little Stars.

Sections within Things Buried In Water 1 and The Stranger’s House suggesting melody, the rest an offbeat, thrumming sound collage.

Overall ATW seem "smaller" somehow, where previous records were... well, bigger. If it were anyone else we'd be more impressed, but ATW can do better. [Nov 2018, p.80]

There’s little to distinguish its 10 tracks from each other, beyond Wishing’s stark, startling verses. It’s a shame, because Fafara clearly believes in what he’s doing, and this is far from a bad album. It’s just not enough to reach beyond the faithful.

A game of two halves. ... Could please all. Or none. [Apr 2021, p.89]

It's not exactly in Rikki's nadir, but neither is it exactly rock. [Jul 2021, p.87]

The concept of nature destroying man-made civilization to a soundtrack of dark, danceable symphonics is chilling. [Sep 2020, p.85]

McCauley strains a little too hard for unpolished authenticity over originality, but he still hits the emotional bullseye half the time. [Oct 2013, p.86]

Some nifty tricks - mashing their own Lonely In Your Nightmare into Rick James's Super Freak, for example - but not enough treat. [Dec 2023, p.74]

Almost every song plods along for six minutes or more. It’s punishing. The beauty of middleaged Overkill is that they weren’t middle-aged Metallica. Sigh.

This factory runs on goodwill. In less cataclysmic times the exercise might be mawkish, and while a cover of Lean On Me is well-meant it feels a little like eating too much cake icing.

Past Lives is a wilfully uncommercial record, made for the sheer love of the tight-knit scene that spawned them. [Dec 2022, p.74]

Some fans may miss the hobo simplicity of yore. [Summer 2013, p.92]

It’s all great if you’re willing to strap on some cowboy boots and hop on the nearest hayride, but hardcore rockers are gonna wanna sit this one out.

Post-pop indie rock at its drabbest. [Jun 2020, p.89]

Inviting famous friends to help him give the songs a fresh coat of paint doesn't, for the most part, make any real impact. [Summer 2013, p.91]

They revisit a previous concept. ... Floating along on a wave of jazzy good vibes. [Nov 2022, p.75]

This odd, understated record is both strange and affecting. [Feb 2014, p.94]

Thanks to Mark Lambert’s overly ostentatious and frequently intrusive production, Russell occasionally sounds lost within his own material.