While album two adds flavours from the Mediterranean and Iran, the fundamental intent is the same with less-is-more funk beats and bass providing an opiated shagpile foundation for Mark Speer's light-touch guitar lines. [Apr 2018, p.111]

Themes of displacement, disillusion, and druggy ennui speak of a band who are no longer enjoying themselves. A shame, because when singer Andrew Savage shakes himself free from the torpor, his anger becomes an energy. [Jul 2014, p.112]

Silence Is Wild may be willfully idiosyncratic and prone to self-indulgence, but it's also refreshingly imaginative, sexually upfront and impossible to second guess. [Mar 2009, p.101]

It's not an earth-shattering account of the last year, but maybe the most affecting in its ordinariness. [Jun 2004, p.102]

The results remain defiantly out of the ordinary. [June 208, p.145]

It proves to be an entertaining and profitable arrangement. [May 2010, p.112]

A solid, rather than remarkable record. [Summer 2019, p.115]

From sterling ballads to punchy rockers, it's a classy set. But the initail post-Obama musings of Welcome To The Future already seem dated and, as ever, it's hard to know where the buyer will come from. [Aug 2010, p.124]

The newly remastered version is also bolstered by three additional track as reclaimed from the vaults. [Apr 2011, p.114]

[This fifth album] still sounds refreshingly unconventional. [Apr 2014, p.116]

These are songs concerned with the transient, the fleeting, but no matter how long this partnership endures, this is a solid monument. [Apr 2019, p.110]

Joseph D'Agostino's voice can get a little grating: too often he's hysterically over-emoting. [Oct 2014, p.107]

The dizzying "Here Comes All The People," this roller-coaster album's highlight, merges post-punk trash with whispered vocals, orchestral wizardry, funky guitar, tub-thumping drums and Snow Patrol-esque grandeur. [Apr 2010, p.115]

While this album carries more instrumental and emotional heft than its predecessor, something remains off-balance. [Jun 2010, p.130]

While The Singles offers a skewed perspective on their career, the real attraction lies in the rarity of some of the material, such as Turtles Have Short Legs. A must for diehards, then. [Aug 2017, p.113]

The levity of the words is the perfect counterbalance to the fury of their playing. [Nov 2015, p.110]

Post-industrial punk with little to smile about. [Aug 2004, p.110]

It's a solid return. [Nov 2007, p.137]

Brilliantly bonkers. [Oct 2007, p.105]

True, the Estelle-sung can't Wait sounds out of place, but elsewhere this is an estimable example of making things just like they used to. [Sep 2013, p.99]

The two-part "Metal Bird" is genuinely thrilling. They don't scale such heights elesewhere, but this is still an album that rewards perseverance. [Mar 2010, p.108]

Nothing Important is madcap, abrasive and, at times, laugh-out-loud funny. [Jan 2015, p.124]

An album of abundant imagination, if elusive meaning. [Sep 2018, p.110]

A curious third outing. [Oct 2005, p.117]

DeVotchKa's preference for songs that don't necessarily result in feverish fopsweat actually serve to highlight much mongrel charm. [Apr 2008, p.107]

The whole thing comes with a sort of knowing childishness, like reverting back to your most obnoxious teenage self after 10 Minutes with your family. [Apr 2016, p.112]

This time, Lemmy Gurtowsky and Dan Jones are joined by guitarist Zach Brower and drummer Cole Lanier. The pair have slowed them down in a good way. [Apr 2015, p.97]

Coda mopped up odds and sods and two new discs include Page and Plant's 1972 recordings with the Bombay Orchestra. [Sep 2015, p.121]