It's not a bad album, just not that distinctive. [May 2008, p.111]

Songs with fuller backing reveal much melodic moxie. [May 2016, p.96]

Everyday Demons ticks all the hard rock boxes. That there isn't a single orginal idea on display here doesn't actually matter. [Mar 2009, p.105]

Nine of its 10 songs are around the three-minute mark and as solid and straightahead as the tank behind whose wheel they might've been written. [May 2009, p.98]

Where time truly has no meaning is in the lyrics. [Apr 2014, p.96]

A more tasteful affair [than Leave Home], tapping into the 1980s underground's collegiate, powerpop end... plus straight-ahead rock-n-roll holler. [May 2012, p.82]

There are no masterpieces here. But it's a brave venture nonetheless, and one that does succeed in becoming something more than the sum of its parts. [Jan 2010, p. 95]

It's unfair he no longer sounds unique. As a transmitter for cute. stylistic oddness, though, he remains staunch. [Sep 2017, p.96]

A convincing musical narrative for young life in the UK today. [May 2011, p.104]

[Manu Chao's] sonic tropes influence more than the three songs he appears on but Rose hasn't been around this long without knowing how to wrest the stage from the men in her music. [Aug 2016, p.94]

For the most part his tribute to Duke Ellington works in the way that should keep purist onside. [Aug 2012, p.96]

It's all so sad, and surrounded by 80-plus minutes of restless, questing uncertainty. [Nov 2018, p.90]

Their music has a heavier gait, like a cross between a crazed Triffids and a stroppier Bad Seeds. [Oct 2006, p.102]

A touch of feyness lingers. Not much, though. [Feb 2016, p.95]

Occasionally they stumble, as on the clunky 'Warboys.' But with Rogers imperious, Queen's second coming is vindicated. [Oct 2008, p.100]

Hard Islands is evolution. But some will hanker for Fake's fluffier vintage. [Jun 2009, p.102]

What follows is a quietly substantive if still somewhat pallid, meditation on faith and death. [Mar 2023, p.92]

His commitment is palpable, the sequencing deft, and whole wilfully hit-free bombast-fest commendable, if scarcely palatable to anyone apart fro card-carrying Suede-heads. [Oct 2018, p.93]

In its dreamy, fluttering loops and Sian Ahem's brittle, deliberately understated vocals it possesses a brace of powerful tools. [Aug 2014, p.91]

All six track here confidently align The Cairo Gang alongside kindred neo-psychedelicists like The Lilys, it's brevity never wearing out their charms. [Aug 2013, p.90]

Hearts is meta-shoegazing, a melody-driven dive into mist, where focus is difficult. [Sept. 2011, p. 97]

Side by side in this unfamiliar setting, well-known songs become unsettling. [Oct 2017, p.104]

Gelb may be onto something and his chutzpah i laudable but, ultimately, only time decides which songs become standards. [Dec 2017, p.94]

It's the very essence of being "unplugged" as Chilton--laughing, joking, fluffing lines, forgetting verses and whistling choruses--breaks down all barriers between musician and fan. [Nov 2013, p.102]

With its portentous pulse and skirls of feedback BN9Drone, sounds like nothing less than a call to mobilise. [May 2021, p.87]

What it lacks in vocal grit it makes up for in abundant hooks. [May 2019, p.96]

Blues Of Depression picks up from where that album [2014's Different Shades Of Blue] left off, allowing the fretboard wizard to demonstrate that he can write good tunes as well as produce a seemingly endless supply of molten solos. [May 2016, p.92]

There are moments of a chamber ensemble compactness and clarity, but at times it all gets suspended in and blurred b clouds of ambience. [Jun 2016, p.95]