It hard not to be engaged by the restless, cerebral daftness--footnotes notwithstanding. [Apr 2019, p.95]

These songs sound like they were made to be played on-stage (other than a few that don't lift off the ground). [Aug 2019, p.95]

They do sound less corporate, more like their original idiosyncratic selves. [Jun 2024, p.90]

Theirs is really a taste worth acquiring. [Sep 2005, p.103]

Visionary, exhausting, Dusk To Dawn is an extraordinary experience. [Jun 2019, p.95]

Earworms abound. [May 2020, p.96]

Confident and expansive, yet intimate and subtle, Bonny Doon are in a good place here. [Aug 2023, p.81]

While her writing is often flattened by the ungainly toil of navvying away for the Big Idea, the flame of toriamosness burns through at times. [Nov 2002, p.114]

Here, the band look to the more languid nod of Spaceman 3 instead. [Jul 2009, p.98]

This is not the James of Sit Down vintage, which means there's still life in the old dogs yet. [Oct 2010, p.103]

His score for this Murakami adaptation is just as striking, referencing Vaughan Williams and Shostakovich in a manner similar to such 20th century Japanese magpie composers as Hayasaka and Hashimoto. [May 2011, p.112]

Unfidelity exhibits sonic DNA from all corners of pioneering electronica. [May 2014, p.93]

At 12 years' distance, these Papists sound anything but straightforward, ably navigating a compositional logic every bit as nutty as Debaser or Cactus, just with the sonic derangement notched down, and the odd deft pedal-steel lick chipped in. [Jun 2015, p.102]

So really, Let The Record Show is a game of two halves, a little jumbled up perhaps, but one in which Rowland ultimately triumphs. [Jun 2016, p.90]

The production ideas and songs, however smart, won't change the world; they will, however, prompt large swathes to sing along. [Dec 2024, p.84]

The former [true gems] are plenty, the latter [filler are] few. [Aug 2012, p.91]

Produced by Tortoise's John McEntire on this, their second outing, BO channel such solitary American composers as Harry Partch and Charles Ives, rattling from distorted second line jazz to mournful Moondog horn stomps and sweet chamber melancholy, creating a claustrophobic city suite that taps into a whole other area of American vernacular music. [Dec 2009, p. 96]

A rarefied exemplar of genteel bliss. [May 2005, p.108]

J's mature-era peak continues. [Sep 2014, p.90]

Casey and collaborator Shawn Creeden deliver a bold album that eschews their previous organic approach in favour of a more electronic direction. The effect is intoxicating. [Apr 2010, p.92]

The result is a warmly autumnal, subtly adventurous set. [Oct 2021, p.90]

The songs remain brilliantly elliptical surveys, often of contemporary America. [Sep 2015, p.103]

Represents a major leap forward. [Nov 2003, p.130]

If harvest Moon ever threatened to melt your teetch, now's the chance to really bite down. If You already love iut, you can get a sugar rush all over again. Win-win. [Feb 2010, p.112]

The greatest thing about this tribute album is that ... the biggest names on it ... all bring their A game. [Apr 2012, p. 88]

MOB sound as electrifying, as curious and as awake as they ever have. [Aug 2012, p.96]

It's all expertly crafted stuff. [Feb 2014, p.94]

He brings an easy empathy to these songs. [Sep 2014, p.96]