The almost tangible sonic richness, like much here, redolent less of lyrical conservatoire pianism and more of a twitching avant-chamber orchestra co-conducted by Basil Kirchin and Harry Patch. [Apr 2014, p.95]

The pair's debut creates an inviting somnambulant soundworld. [Jan 2021, p.85]

Cameos by Vampire Wekend's Ezra Keonig and Tamil rapper M.I.A. add to a joyous but knowing smorgasbord that will play equally well in a Lilongwe disco or Shoreditch/Brooklyn trend hole. [Oct 2009, p.107]

A set of busy beautiful whispers, 62 minutes of exquisite suspended animation. [Apr 2003, p.87]

Charms on the surface yet stays in the memory. [Oct 2002, p.108]

Part of a singular lineage of deceptively amiable and peculiarly British music that reaches back from Supergrass to Madness and Squeeze. [Nov 2002, p.102]

A slow-burning cracker. [Apr 2006, p.101]

Thanks to The Roots, Costello has new access--and Wise Up Ghost should bring new listeners to mess with. [Oct 2013, p.94]

They sound in rude health to me. [Aug 2018, p.96]

Sleepy Eyes is an immediate standout, as is the mellow but life-affirming title song. More playful is the excellent Two And Two Don't Make Five, a kitsch retro-groove spiked with humour and a funky organ solo. [Sep 2016, p.94]

Slick's shuddering electro, 808 handclaps and foundation-bothering Miami bass drops go to work on your endorphin levels and display astute songcraft. [Mar 2010, p.100]

The first half of this Bristol-based quartet's debut is too idolatrous, but the second plunges into deeper cavernous spaces. [Apr 2015, p.89]

The slightly muted beats across Record suggest the memory of good times, but the joyous flash of self-recognition on Dancefloor shows they are far from over. [Apr 2018, p.95]

The most coherent album Gelb has produced in some years, up there with the best of his considerable canon. [Apr 2019, p.92]

If the arrangements and performances are as good as retro-rock gets--with veteran drummer Gene Chrisman and keyboard player Bobby Wood among Auerbach's American Sound Studio band they would hardly be otherwise--the lyrics seldom boast a single sentiment or turn of phrase which isn't threadbare. Otherwise, never a dull moment. [Feb 2020, p.92]

Svelte, mostly acoustic collection is so refreshing. [May 2020, p.94]

Their template of new music plus archival spoken word is revitalised here, with Earhart’s writing voiced anew by actor Kate Graham. Towards The Dream is guitar-twanging exhilaration. [Nov 2024, p.84]

Strange Life warrants recognition, Stein and co's passion undimmed. [Mar 2026, p.80]

The results are melodic, gently atmospheric indie rock that often fits the neo-shoegaze paradigm. [Sept. 2011, p. 101]

Williamson outlines her personal mythology; as a lover, a daughter and, by the closing Piano Love, a future mother, via songs sung in a resonant, often Patti Smith-like voice, over a heat haze backing of Rhodes piano and guitar. [Jul 2018, p.90]

The revivified Bush Tetras prove No Wave's not dead. [Sep 2023, p.86]

Over 12 mostly blueprint-hugging songs returns diminish, but scuzzy beat-box disco outrider What Did I Ever To You is great. [Sep 2023, p.86]

A sprawling and lengthy affair, this album rarely falters. [June 2010, p. 98]

Sixteen short, sharp blasts of garage pop, Castlemania addles Dwyer's catchy, wryly dippy ditties with mind-melding mellotron blasts and acid-fried clarinet and flute additions. [Aug. 2011, p. 96]

The combination... works just fine. [Oct 2005, p.114]

For all the grey matter on display, this is a Technicolor record. [Jul 2013, p.94]

With swaying synths, popping drums, synth melodies and wistful lyrics, it's Depeche Mode for the juicing era. [Dec 2019, p.96]

No Fixed Point In Space is as on point as it is off grid. [Nov 2023, p.92]