Ash's cover of Teenage Kicks itself is on the limited-edition 3-CD version, alongside the likes of a cover of Buzzcocks' Everybody's Happy Nowadays, making this the best buy. [Mar 2020, p.101]

What separates this album from the 14 he's made before is the involvement of Adam Granduciel, who produces luminously, plays guitar, synths and more, and enlists his bandmates for much of the remaining instrumentation. [May 2025, p.87]

It's a less alien, less disturbed and thoroughly lighter record. [Nov 2005, p.104]

Grief therapy has rarely sounded so groovy. [Jul 2013, p.85]

Lyrically he's as pleasingly obtuse as ever. [Jul 2006, p.101]

Both otherworldly and intensely human, it's hard to resist THEESatisfaction's singular charms. [Apr 2015, p.95]

There's no white-hot creative explosion, just a gentle simmer. [May 2016, p.88]

The considered Heba is not immediate, but it worms its way in. [Apr 2017, p.95]

Aching, poetically quotidian observations permeate Universal Themes. [Aug 2015, p.89]

An epic, cataclysmic set playing host to moments of magnificent Strum-und-Drang. [Sep 2015, p.92]

Everything feels tactile rather than crowded. [Apr 2016, p.92]

The foundations--the Latin rhythm section--remain solid, and wandering freely around is saxophonist Issa Cissoko, who, spiritually and musically, is to Baobab what Keith is to the Stones and Bez to the Mondays. Still a bit special. [May 2017, p.95]

Another point of reference is Gorky's Zygotic Mynic and it's Girl Ray's appropriation of their scherzo sensibility lifts the three-piece beyond pastiche, feeding songs such as Don't Go Back St Ten and Where Am I Now with a musical strangeness that's totally alluring. [Sep 2017, p.90]

Lapalux has joined the ranks of contemporary electronica's finest, like Flo Lo himself. [Apr 2013, p.95]

The Way I See It is refreshingly different, eminently listenable. [Apr 2009, p.110]

There's not a note put out of place as they invite us to enjoy the good natured be-in. [Apr 2011, p.104]

There's no danger of Wanderer outstaying its welcome, but while it's a brilliant return, it wouldn't be quite right too claim it as a triumph. Not because of the quality of these songs but because Wanderer is a record that know the cost of living and the price of losing all too well. [Oct 2018, p.82]

The album is mainly archetypal Forster. [Oct 2015, p.92]

Emanon is unequivocally a visual treat but in purely musical terms, it's nothing less than stunningly breathtaking. [Oct 2018, p.88]

Nothing is ever explained, but ambiguity only reinforces Sorry's wonderfully slippery presence. [Apr 2020, p.95]

As it swivels between rock hymns like the Boss-backed New York comeback and country laments like Jukebox, it becomes a primer for newcomers, not a unified statement on a par with 2020's raw Good Souls Better Angels or the landmark Car Wheels On A Gravel Road. Still, it is a triumph that this exists at all. [Aug 2023, p.80]

His nicotine-gritted , hurt-strained voice finds a honeyed foil in Dave Amels' swirling organ, while rhythm section David Wayne Gay and Lance Willie provide R&B warmth and swinging, bar-band stomp. [Dec 2009, p. 96]

Hollow Meadows carries his usual stamp of songwriting quality, but rather than further develop these new sonics and dynamics it feels more like a retrenchment. [Oct 2015, p.88]

Middle Cyclone never lets go enough to take flight; nor does it too quickly wear out its welcome. [Apr 2009, p.110]

In short, it's the kind of pop music that works in any era. [Aug 2013, p.89]

Some of the lyrics that should sound like cliche feel more legit as we hear Segall wade earnestly into the aches and joys of existence. [Sep 2019, p.90]

For all of its gentle yet intense reflection, it's never overtly maudlin. [Mar 2012, p.92]

There's little discernable rhyme or reason holding it all together. [Oct 2006, p.110]