There's nothing wrong with this record... Yet it's only on Feel The Beat, in which he lets his ego off the leash, that LL gets into gear. [Oct 2004, p.128]

Despite some strong material, the relentless gloom gets a little wearing well before the end. [Nov 2016, p.113]

Rather too many hats, perhaps, but still an impressive showcase. [Mar 2013, p.105]

Imagine a hillbilly White Stripes and you're almost there. [Oct 2014, p.119]

Their 14th album sees them once again focusing on stripped down Nuggets-era garage rock. [Oct 2012, p.107]

The record suffers from a surplus of hired guns. [Nov 2014, p.112]

It's heartening to see a band still in the grip of an ideas overload 11 albums in. [Nov 2012, p.94]

These skeletal blues are for addicts only. [Nov 2012, p.98]

While Reflektor isn't so flawed as to strip them of their sash, it's a wobble on a podium, a needless error of judgement that could have been easily avoided had they heeded that other old truism. [Nov 2013, p.100]

Their stall is pretty clearly set out then, yet... Mind Fuzz's most enduring quality is the overriding, Technicolor sense of fun that runs throughout. [Jan 2015, p.128]

Emotional debris permeates almost every song here, but so assured are producer Butch Vig's pop touch and Cooper's harmonies that these pop-punk nuggests sound as sunny as anything on their debut. [Aug 2008, p.143]

A dozen familiar tracks, minus their overdubs. [Oct 2013, p.116]

Without breaking any new ground, Glowing Mouth shows there's a bit more of them than that [sounding like Coldplay's Chris Martin]. [Mar 2012, p.112]

At times, all this loose-limbed craziness can become tiresome but like an excitable friend dragging you onto the dancefloor by the sleeve, they make it very a=hard not to join their party. [Apr 2013, p.97]

It's the orchestral pop of Red Rover, Red Rover and the others that sweep the album along. [Apr 2013, p.113]

Ridin', Porn Star and Slammin' are as disposably trashy as their titles suggest, and even the trowelled-on angst of Slit My Wrists and Whiskey In The Morning sounds like a pool party at a Beverley Hills bordello.

The debut is a mix of styles classic and unorthodox, mythic American themes and sounds overlapping with futuristic textures. [Jan 2010, p.119]

On Desire shows Drowners deepening and darkening the intrigue around them. [Aug 2016, p.111]

There are moments where the glory years are emulated.... Even so, after 17 long years, both band and audience deserve better than a wandful of magic and some rehashes. [Oct 2003, p.102]

[Johnny Lynch's] third album proper features confident, spangly pop music with beats as sneaky vehicles for stories of murder, primal blood rites and near-death experiences. [Nov 2016, p.113]

Shunning those bawdy, mike-tossing rock'n'roll tendencies of yore and aiming at the modish pop/R&B middle ground inhabited by the likes of R. Kelly, he's made what is easily his most cheering, soulful collection in years.

Into The Diamond Sun takes a fistful of seemingly incongruous influences and hammers them into something akin to pop music. [Oct 2012, p.111]

Engagingly eccentric. [Dec 2016, p.110]

His music could still use an injection of personality. [Oct 2018, p.119]

He likes to temper the euphoria with a much darker undertow. [Mar 2012, p.112]

Their ability to transport the listener to an imaginary Deep South truckers' bar in 1973 is peerless, while the deft funk-rock of 'Set In Stone' and 'Play the Fool' pay tribute to the slick musicianship and seemless meld of rootsy American music styles that The Doobie Brothers and Little Feat unleashed in their prime. [Nov 2008, p.110]

The tempo seldom rises beyond a twitch, or Buttery's voice above a murmur, News From Nowhere is warm and confident. [Apr 2013, p.99]

Another quirky, engaging curio.[April 2012, p.98]