The attitudinal posturing wears thin on "Killer" but stuttering funk, the Depeche Mode in the moshpit vibe of "Little Mamma" and a timely nod to Prince on closer "Something" all hit the spot. [Jul 2016, p.69]

On the whole it struggles to strike a light, far less catch fire. [Aug 2016, p.78]

Surprisingly, though, it's all a damn sight better than Velvet Revolver. [Sep 2009, p.81]

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]

A masterclass in menace. [Apr 2005, p.97]

The demos for Be Here Now don't reveal much in the way of nuance or additional texture. You have to dig deep to find genuine curios. [Nov 2016, p.51]

Such a see-what-sticks approach means Native To clunks in places, but when they get it right their enthusiasm is infectious. [Jul 2011, p.87]

Their formula--downtuned guitar, chunky rhythms, serial killer vocals--is proven, but ugly enough that it'll only resonate with fans. [Sep 2010, p.96]

A song called 'Vietnam' only reinforces the all-around impression Lenny is 40 years too late. [Mar 2008, p.92]

Caillat has a sweet, clear voice and the songs are crisply tasteful ("Fallin' For You" is all hook) but rarely go beyond formula. [Nov 2009, p. 83]

It's original member, turntablist Nu-Mark, who still provides the highlights. [Aug 2006, p.96]

Fortunately, the sturdy rock instrumentation of Green Day producer Rob Cavallo serves to tamp down her pervasive air of self-importance while minimising the cringe factor in her lyrics. [Jul 2006, p.98]

Seldom has retro sounded so pleasingly stubborn. [Jul 2012, p.85]

The results of his previous work have sometimes felt opportunistic and Go Hard is no different. [Nov 2009, p.90]

Uncanny Valley mostly just splashes around pleasantly in the easy-listening shallows. [Sep 2013, p.91]

A set of instant, insistent--occasionally irritating--tunes. [Mar 2018, p.35]

Borrowing from the past for Bowie's "Heroes" doesnt't result in anything interesting, but Perry's deep, reverb-heavy vocal on Johnny Thunders' "You Can't Put Your Arms Around A Memory" is a perhaps surprising highlight. [Aug 2019, p.31]

Booming Back To You is palatable enough. [Apr 2008, p.93]

Carr's ambitions outrun his abilities. [Sep 2004, p.98]

Impressively artful forgeries all round--but unlikely to appeal beyond their diehard following. [Dec 2010, p.105]

The weakness is the music. [Aug 2011, p.79]

Far too many songs here are conducted in a mid-pace. [Jun 2010, p.90]

The murky results are sometimes frustrating. [Apr 2013, p.71]

Apostle Of Hustle have now all but abandoned the Cuban mores of earlier albums in favour of a lean, bass-driven powerpop. [Sep 2009, p.79]

A murky return to the denim'n'leather heartlands of 2000's Thirteen Tales. [Oct 2005, p.96]

Not that there isn't music on Russian Doll that's as lovely as any he's made, but it's brought crashing down to earth by deeply average singer Siobhan de Mare. [Jun 2004, p.86]

A Fool For Everyone proves Bones can write a song or two. [Apr 2009, p.80]

If Geldof had been able to restrain his instinct toward baffling over-production, he might have come up with something that fulfilled the promise of its title. [Mar 2011, p.91]