At times City Of Gold may sound a little hungover after the euphoric heights of 2022, but Tuttle shows every sign of pushing through. [Aug 2023, p.78]

There's a full band, a string section Swarmatron and brass. Reassuringly, the songs are strong enough to carry the new load. [Mar 2024, p.85]

With childhood friend Sean Coleman aboard to coax Brian Wilson-ness from the 1980s'-penned And You Run, and tunes as charming as Breezy Sweet Smile, let's be grateful that Eels Time! rolls on. [Jul 2024, p.89]

Dreamily inventive. [Jul 2026, p.91]

Cumulatively, the combination of Ashworth's sub-Bill Callahan levels of vocal animation and the mid-paced songs with tolling chord changes can err towards the enervating rather than the enigmatic, but funkier beats and mellotron give White Jetta a lift. [Jun 2009, p.96]

Hot Chip's impressive musical facility remains, it's merely a little out of focus. [Apr 2010, p.102]

An overpoweringly diverse record. [Aug 2003, p.92]

HIs essential charm flows through raise-a-glass choruses tinged with melancholy. [Oct 2007, p.91]

Lord Steppington simultaneously engages the grey matter while snapping at the neck muscles. [Apr 2014, p.93]

No Treasure But Hope is further refinement of what they've been doing in the past. [Dec 2019, p.89]

There are twists, but no clutter, just a gentle lyricism leaving every song lit from the inside. [Feb 2007, p.100]

Glass Boys' legacy will likely be the Fucked Up record fans praise for its songs, rather than the risk-taking. [Jul 2014, p.95]

If quality control on Sukierae sometimes sags amid the fecundity, all is forgotten when Jess Wolfe and Holly Laessig of Brooklyn-based new lights Lucius help gild country-folk standouts Wait For Love and Nobody Dies Anymore with calm-yet-striking backing vocals. [Oct 2014, p.94]

Smilers is a masterpiece from a songwriter who's quietly chronicling the blanched last days of a sunshine empire. [July 2008, p.112]

Copeland herself is always gloriously centre-stage. [Jun 2009, p.108]

It's all about Rosanne's voice. And she's rarely sounded better. [Nov 2009, p.96]

Radical tech rockers' microshift to the center ground. [July 2011, p. 100]

The pace rarely rising above languorous, the lyrics resolutely wistful, with the now 50-year-old Sandoval's vocals the compelling focus across 11 drowsy, folk-rock noir essays. [Dec 2016, p.88]

Two nuanced, outstanding duets with French avant-popper SaraSara help lighten the all-consuming existential despair. [Jun 2020, p.91]

more ambitious and more accessible than the sonic paranoia of 2005's "Burner." [Dec 2007, p.109]

The whole thing carves out and inhabits a persuasively exotic world of echo that invites total immersion. [May 2015, p.97]

Sirens proffers another string to his bow, its nine skittering essays overlaying richly textured, genre-melding electronic sound worlds with liminal song "structures." [Nov 2016, p.81]

Years Of Refusal isn't a great album, but it's no disaster. [Mar 2009, p.104]

The delightful, multi-mood Commontime is just shy of an hour, opens things out and is more personal [than 2012's Plumb]. This might be the sound of maturing. [Mar 2016, p.96]

Well before David Essex provides a gruff guest turn on Relocate, you are entirely won over by this record, brimming with music from a postcode synonymous with class. [Jul 2005, p.106]

The album sounds squashed and claustrophobic, but lacks the sense of play that still characterises his clever, incident-packed rhymes. [Oct 2007, p.106]

One Bedroom finds the group in a more forthright mood -- just shifting up a gear makes a big difference. [Feb 2003, p.90]

The 62-year-old Bradley, meanwhile, has all the marks of the soul greats who have gone before him; the testifying smart Syl Johnson, the grit and gusto of Otis Redding, the raw power of James Brown, the smoulder and shudder of James Carr. Together they make an intoxicating sound, one that would have fit in perfectly at Twilight in the late-'60s.