While he's not breaking any boundaries, when Moore keeps the tempo up.... he's as good as any other would-be Moroder, even if the title track's lyrics and FM swagger owes as much to US soft rock behemoths Foreigner as it does to Studio 54. [Jun 2012, p.107]

An inventive album whose impact is lessened by Guthrie's illustrious past. [Jun 2004, p.107]

A fun if disposable diversion. [Feb 2006, p.105]

There's plenty of schmaltzy cobblers on Another Country, too, but the good bits are just about worth hanging in there for. [Dec 2015, p.114]

The model can work successfully--There IS Nothing Left recalls a sunnier, more sugary take on '80s Cure, for example--but elsewhere songs would benefit from editing. [Nov 2014, p.111]

It's an addictive dream-pop blueprint, yet it's only when the percussion powers down, as on closer "The Wait," that the band hit the ethereal heights they're shooting for. [Aug 2010, p.125]

The title track sounds like it was written for a TV movie and Lower The Tone is a sexless sex-jam, but it's an energetic return regardless. [Mar 2018, p.113]

Bontempi organ drum tracks merge together to create a hypnotic funk. [Sept. 2010, p. 118]

It's still on the dancefloor showstoppers--No Enemiesz, Giant In My Heart--that she really comes alive. [Jan 2015, p.127]

Magnificent Fiend recycles a lot of hairy late-'60s/early '70s rock moves. [June 2008, p.149]

The album is fine enough, undeniably modish and much better than you might anticipate. [June 2008, p.136]

The five Retina tracks are hauntingly intense....Iris is far warmer-sounding. [Sep 2010, p.123]

Both enticing and disorientating in equal measure. [Jun 2019, p.116]

Though the quality rarely dips, at almost 2 hours long it does get rather wearing. [Aug 2009, p.110]

Animal Wisdom is pretty enough, while drone epic Silent Stream nails his Velvets fetish. But to call the other Nuggets-style fodder here "something else" is overstating it. [Summer 2018, p.109]

An adult rock record in which nuance succeeds over bombast. [Dec 2002, p.108]

It's essentially ambient comedy cabaret. [Nov 2003, p.117]

Hard to pin down, and all the better for it. [Jun 2012, p.111]

Drenched in feedback and carbuncled with extra riffs, Familiar To Millions makes Be Here Now sound like it was recorded on a four-track by Elliott Smith. Yet unlike recent Oasis albums it's mostly fun, going right back to the broad, singalong Gallagher-karaoke of more innocent times. It helps that the Oasis 2000 set consisted mainly of their earlier, more familiar, better material being put through a wringer of behemoth-rock.

A few pop-soul cliches creep into the album's cluttered middle section. But the rest is 21-st-century electronic pop delivered with style and ambition. [Aug 2013, p.106]

Although his monotone becomes a little wearing over an entire album, this is still his best work in a long time. [Oct 2012, p.106]

There's nothing as heroic as Smashing Pumpkins' Tonight Tonight, but Now (And Then) is a surprisingly successful attempt at emotion. [Jul 2005, p.113]

At 65-plus minutes' duration, Honeymoon's submarine/somnambulant vibe does rather overstay its welcome. [Dec 2015, p.115]

Willfully meandering yes, but it's an enjoyable shambolic ride that bottles early Pink Floyd, Skip Spence's cracked psych-folk and the ragged majesty of the Stones' own magnum opus. [Nov 2014, p.111]

No Doubt have always been a platinum-haired party band, but, over 20 years into the game, such platinum pop perfection feels far less forced. [Nov 2012, p.108]

Dense swirls of electronic noise, baleful, twanging gothic country guitars, lyrics that never quite reveal some horrifying secret - fans of Lynch's films with find themselves on familiar ground. [Dec. 2011 p. 129]

Their slow, brooding, impeccably delivered songs exude menace and promise drunken but regrettable sex, while the symphonic closer 'Waves' suggests they have the wherewithal and inclination to evolve. [Aug 2008, p.145]

Dimensional People III is the key. Its multi-layered ambience is indicative of the record as a whole and it serves to highlight this duo's zest for reinvention. [Jun 2018, p.113]