The New York threesome have just about enough tunes to pull it off. [Jun 2009, p.93]

The patchwork of Orb-like sonic tapestries and guest vocals by some uncharacteristically gnarly rock veterans is not hugely original, but still manages to engage. [Feb 2012, p.84]

Lemmy's chief inspiration is war, and this leads to some lyrically sticky moments. Generally, though, high spirits prevail. [Nov 2008, p.109]

While it frequently feels like a particularly inspired "Mighty Boosh" number, the absurd ambition, chutzpah and execution of it all is perfectly awesome. [Nov 2008, p.89]

Less obviously 'loops and samples' oriented than their previous work, Can You See The Music? neatly navigates an electronic/organic interface. [Feb 2003, p.82]

The result is a record that contains the cryptic hooks of Pavement's later work, with a pleasingly breezy '70s AOR feel. [Nov 2009, p.104]

It feels as if this album is only half the intended project. It's a strong half, fortunately. [Aug 2015, p.81]

It's not always successful, but if the thrilling likes of "Lead Sister" and "Renegade Breakdown" constitute a fresh start, we'll take it. [Nov 2020, p.28]

Mullins is a solid, occasionally platitudinous songwriter whose rustic tales don't approach the wry, wise gifts of similar artists like Johns Prine and Hiatt. [Mar 2006, p.88]

Shuffle and skip for best results. [Jan 2016, p.71]

There's a country edge to songs like "Slick Delta Queen," "Exile Rag" and the surprisingly sweet "Bridge City Rose," the latter making a nice break from the self-centred tone of "Fake Magic Angel" and the Lou Reed-bitterness of "Gold Calf Moan." [Mar 2018, p.24]

For an album that carries such a terrible air of finality, it also feels strangely transitional. [Apr 2020, p.32]

Not for everyone, but quite a party. [July 2008, p.94]

Longwave is languorous and amiable. ... The largely unchanging pace prompts yearnings for more frequent shifts from second gear, however. [May 2018, p.26]

All over the shop stylistically--but a keen handle on dynamics and narrative holds it all together. [Feb 2012, p.97]

Visceral thrills for those who like thier punk served piping hot. [Jan 2008, p.104]

Good, but the exciting notion of a genuine career left turn feels increasingly unlikely.

Rated O delivers more often than falters. [Aug 2009, p.98]

Ignoring the misstep--'O Mensageiro'--this is a pleasure. [Oct 2009, p.106]

A couple of songs could do with more melody and less of Mike McCready's spidery guitar breaks. [Dec 2002, p.132]

Four vocal tracks serve to make the LP more than a masterclass in groove-ology. [Jun 2011, p.87]

It's a facinating listen, one that feels like it could collapse at any time, but just about hangs together. [Apr 2010, p.90]

They're marching to a '90s beat, like the internet never happened and fresh tools were never invented. [Jul 2011, p.77]

Body Music has the feel of an album rushed out for the summer. [Aug 2013, p.67]

Things become more perverse with the corroded exotica of "Deer Ron" and "Leyline Ogres," though her weirdness is most becoming. [Jan 2018, p.29]

What it sometimes lacks in surprise, it makes up for in consistency. [Mar 2020, p.30]

An album of skippy, infectious, electronics-soaked disco rock. [Jul 2022, p.26]

A cover of Pink Floyd's 'Echoes' proves you typecast Qui at your peril. [Oct 2007, p.102]