Good enough that you barely notice Macca, Prince and the other obligatory guests. [Dec 2005, p.100]

Dirty Glow is packed with playful, occasionally disorienting tracks. [Jan 2013, p.80]

It's as convincing and heartfelt as anything else here--and suggests that by incorporating disco into the rest of his music, even better things may lie ahead. [Mar 2008, p.96]

Their debut reveals a talent for taut, punkish, pivot-on-a-penny songs that cemented their live reputation before they'd even recorded a note. [Apr 2013, p.74]

Larry Klein places the vocals disconcertingly high in the mix, but it effectively emphasises Chapman's poetic sensibility. [Dec 2008, p.86]

Magpies, for sure--but rather brilliant ones. [Jun 2018, p.30]

An album that bounces airly between teen pop sublime and the aging rebel ridiculous. [Apr 2011, p.95]

Weezer's likeabe, insubstantial powerpop has often been infused with somewhat tetchy intimations of latent intellectual heft. On Raditude, this manifests in guest appearances by Amrita Sen and Nishat Khan on the dreadful "Love Is The Answer." Elsewhere, though, Weeaee seem to have ceased to care. [Feb 2010, p.107]

The good news is [single "You Don't Know How Lucky You Are"] is not even the best song on his debut album. [Mar 2012, p.89]

Tracks like "Georgia" and "Holing Out" tear by with sandpaper efficiency and no little impact. Yet they have more than one idea. [Mar 2011, p.107]

Five American Portraits, another collaboration with conceptual art group Art & Language, combines the two [awkward rock music and high conceptualism]: these simple, rough portraits of George W Bush, Wile E Coyote, etc, while each song musically quotes relevant tunes. [Mar 2010, p.93]

These are brilliant songs; but they simply reminds us of too many others who got there first. [Mar 2011, p.100]

Something Dirty captures guitarist Jean Herve Peron and drummer Werner"Zappi" Diermaier plus Bad Seeds James Johnston and the artist Geraldine Swayne-- continually to shape-shift around the margins of rock. [Feb 2011, p.84]

The group's formula is undeniably infectious, with giddy, harmony-enriched interplay outshining occasional lapses into spindly scuzz. [Oct 2015, p.73]

A second cousin to New Pornographers' Electric Version. [Jul 2005, p.103]

Work is less dramatically monochrome than HTRK's debut, the Coil-like angst replaced with a more subtle existential uncertainty. [Oct 2011, p.89]

While lyrics like "this is the hottest summer I can ever remember 'cause the world is on fire" leave little to the imagination, the final product is hard to dislike. [Aug 2023, p.26]

Although brass and strings add muscle, a certain monotony creeps in towards the end. And there aren't enough strong tunes from the least melodically facile Beatle. [Dec 2002, p.134]

As ever, the combination of sincerity and sentimentality is overpowering. [Oct 2009, p.89]

The crashing waves of "O-OnOne" immediately align the new-look Seefeel with the aggressive ambiance of Oneohtrix Point Never and Emeralds, while "Airless," Peacock's serene vocals are assailed by coarse filter sweeps and the squeals of busted circuitry. [Mar 2011, p.99]

On the whole, it's a little in hock to its influences, although the closing eight-minute title track is a fine exception. [Jun 2013, p.73]

It does still summon some of the spirit and occasionally the joyfulness that should attend a first record. [Mar 2011, p.90]

The record plods along nicely but often drifts into forgetful or nostalgic territory, with the fuzzed-up growl of the guitars recalling the bygone mid-90s indie-rock boom. [Nov 2018, p.37]

Alas, too much of this heavily glossed and processed album lacks wit or passion. [Oct 2011, p.86]

In many ways Clay Class is another helping of their broken blues and Stuckist infra-poetry, charting a Fallen landscape, stripped even of grotesque enchantment. [Feb 2012, p.97]

Though Caravan Chateau may match the tone of society's mourning, it does so through a navel-gazing lens. [Oct 2020, p.32]

Your cider-drinking soundtrack for this summer is here. [Jul 2011, p.100]

No No No is limited overall, and finds Condon's filigreed production out of step with the minimalist balladeering peers who have flourished in his four-year absence. [Oct 2015, p.71]