The pulse never rises above a heartbeat, but as the nine songs clock in at 34 minutes, the absence of tempo changes is barely noticed. [Oct 2009, p.112]

Polished but pedestrian. [Jul 2016, p.78]

Yes, it is formative, but it is never amaturish, and where Grizzly Bear's fully symphonic songs can, at their worst, feel somewhat glutinous, the tracks of Archive 2003-2006 combine a lean feel and try-anything ambition that's well worthy of investigation. [Aug 2010, p.90]

There’s a new sense of maturity, even kindness, starting with “More Power”, a song of odd, regretful sentiments, reputedly addressed to Noel and full of family references. ... Songs mostly remain Frankenstein stitch-ups, though: Jeff Lynne’s softly simulated psychon the Threetles’ “Real Love” seems the production template, when not mixed for terrace power, minus tunes. [Jun 2022, p.26]

This will make a happy memento of a rollicking show, but set against the invention and distinctive voices elsewhere in folk, it;s rather marking time. [May 2013, p.71]

Those who adored The Make-Up may find the skeletal drum machine thunk of "Stuck In A Box" a little demo quality. But Svenonius' charisma is unflagging, and his commitment to the theme can thrill. [May 2014, p.71]

While a large proportion of these Swords are decidedly blunt blades, a few could have easily found a place on a greatest hits.

Reissued by Matador mere months after its boutique debut, Love Comes Close is shaping up to be the indie-noise synth-pop crossover hit of the year. [Nov 2009, p. 83]

Silver Age revisits Sugar's thick-set pop style. [Nov 2012, p.79]

Even when Orbit treads water--which by and large he is with this record--the ripples resonate beautifully. [Mar 2006, p.104]

The album's languid pace and lack of real bite often renders it a little pedestrian. [Dec 2015, p.69]

After a moment of comparative restraint he returns with a double album so spectacularly grandiose you have to wear 3D specs to hear it properly. [Nov 2011, p.91]

Too lo-fi for its own good. [Jul 2006, p.102]

Pocket Symphony drifts inconsequentially along. [Apr 2007, p.92]

The record features contributions from a host of their pals, such as The Orb's Alex Paterson on the blissed-out "Burnt Umber," writer Vivien Goldman on Bizarro Bond-theme "Rhino" and Alabama 3's Aurora Dawn on reggae spiritual "Keep On Moving." [Apr 2020, p.37]

The cod-mystical lyrics to tracks such as "Infinite Sun" and "Mountain Lifter" suggest that embers of the hippy-dippy sitar rockers survive, but a short, Hare Krishna-style sitar and acoustic guitar chant called "Hari Bol (The Sweetest Sweet)" suggests that dear old Crispian has an awareness of his own ridiculousness. [Mar 2016, p.75]

Although the tongue-in-cheek title nods to the familiarity of these new songs, there's no shortage of ideas. [May 2020, p.27]

You could call it happy hardcore, even if there's nothing particularly upbeat about its content. [Feb 2012, p.83]

Still mourning the loss of The Bravery? Look no further. [Feb 2009, p.85]

Semi Detached is stuffed with perverse gear such as acid shanty "Deep In The Mine." [May 2015, p.71]

At 36 minutes, Preliminaires is slight and covers-heavy, but points to a promising new career phase for Iggy as Detroit’s answer to Serge.

Some tracks sail a little too far into MOR but Meiburg takes care to balance these out with more robust moments. [Mar 2010, p.95]

A spirited album that runs the gamut from pop to pop-punk to punk. Not everything works. [Jan 2021, p.23]

It's stylistically impressive, but Worden only connects emotionally when she goes for simplicity. [Nov 2011, p.93]

If it's a little predictable, it's still easy on the ears. [Jul 2007, p.127]

The approach is scattershot, but the pace of his productivity means that you're never far from a great song. [Nov 2008, p.124]

It's almost as if the quieter tracks allow her to relax, while the full band numbers--fleshed out rather over-eagerly by a group containing several Mumfords and a Whale--subdue and constrain her. [Apr 2010, p.101]

These are sighs as much as songs, with Cale's vice rarely wavering into anything more obviously declarative than a half-snarl, half-mumble. [Sep 2015, p.71]