Kiss & Tell, although superbly polished and instrumentally powerful, suffers from a claustrophobic sheen. [Aug 2004, p.99]

If Perpetual Surrender had elements of woozy, chillwave, Familiar Touch is full-scale yacht-rock sophistication, with honed chorus hooks and silken arrangements rippling with precision curves. [Jan 2017, p.94]

Only two original members remain--David Thomas, also of Pere Ubu, and bass guitarist Craig Bell--and their approach feels oddly inconsistent. [Dec 2015, p.90]

Tunes abound, performances are slick, and all 13 songs boast a hook or two. [Jan 2018, p.88]

[If You're Dreaming] has a strong vintage feel. [May 2020, p.88]

A lesser work compared to, say, 2008's Nude With Boots, Tres Cabrones nevertheless stomps with enough sulphurous, slothful might to satisfy the faithful. [Jan 2014, p.102]

Basic themes remain unchanged. [Apr 2019, p.89]

Perfect for Twin Peaks' Bang Bang bar, but at 90 minutes duration its lesser parts drag like an over-indulgent director's cut. [Oct 2022, p.87]

Fifth album from former Afghan Whigs mainman's collective. [Apr. 2011, p. 94]

Much of Why Are You OK may be lush and beautiful, but there are too many rambling tracks to put it up with Bridwell's best. [Jul 2016, p.95]

An album which makes his previous excesses seem conservative.... Dazzling though this bombardment is, it's a draining experience. [Jul 2001, p.97]

25 25's monomaniacal quest for the ultimate groove occasionally leaves the listener behind. [Sep 2016, p.96]

Total Depravity strives to add something new to the mix but Andrews' habitual preoccupations keep The Veils from moving forward. [Sep 2016, p.96]

2 is the sound of war, famine and pestilence wiith a spoonful of sexual frustration; often silly but always fun. [Jul 2011, p.106]

When harnessed, Taylor Hawkins' energy is the right stuff. [Jan 2020, p.85]

Their narrative of cosmic self-realisation may be a touch familiar, but overall Electric Eye are mightily far-sighted. [Jan 2018, p.92]

She's an adept songwriter and lyricist, but the album's immutable modern poo production can start to pale. [Feb 2019, p.93]

Bare bones it may be, but it's still recognizably David Gray. [Sept. 2010, p. 102]

When Hucknall pulls a performance only the most blinkered would argue he brings nothing to the party. [Dec 2012, p.86]

A perfect starting place for Holter neophytes, In The Same Room doesn't really add much to her extant discography. [Apr 2017, p.96]

This solo debut sits her ripe, occasionally darkly brooding voice--Rachel Sweet with a hatchet--against grungy country and knowing '60s vibes. [Apr 2017, p.93]

The synths are generally leaner and the production darker, while guitars butt in for the grungy turmoil of Bitch and Mary Magdalene. [Jul 2019, p.86]

With its profusion of delicate acoustic guitar arpeggios and fine string arrangements by Beck's father David Campbell, much of the rest of IRM steers a more organic, at times almost skiffle-like path, but the twist is Gallic melancholy. [Feb 2010, p. 93]

It's a globe-trotting celebration of jerky, angular tempos. [Jul 2019, p.86]

He wastes half his solo debut dishing out second rate filler. Thankfully, his true colours shine through on I Still Wanna, Raid and Trouble On My Mind ... although they're frustrating glimpses of a potent artist coasting too readily on past glories. [Jan 2012, p.99]

Neither great nor golden, then, but not bad either.

A solid collection of angst anthems. [Oct 2015, p.98]

Await Barbarians reminds of Alex Chilton or even Liam Hayes's earliest music as Plush. [Jul 2014, P.87]