Gone is the Fisher Price-redolent instrumentation and found--sounds, in their place something more measured and radio friendly. [Jun 2009, p.98]

Together Through Life is an album that gets its hooks in early and refuses to let go. [Jun 2009, p.94]

More akin to their second LP. [May 2013, p.96]

Tracks like Half Angel Half Light suggest the passion remains fully intact. [May 2013, p.96]

Animal Joy surfs similar channels to their last release, The Golden Archipelago, evoking stratospheric textures anchored down by melodically well-honed tunes. [Mar 2012, p.102]

Callahan is back on track. [Jun 2005, p.104]

Their studio albums have been moving away from virtuoso instrumentals toward vocal songs, of which this album has some excellent examples. [Dec 2007, p.104]

Five years after the self released Robyn, she's teamed up with the Teddybears Klas Ahlund again but made a subtle shift away from the Top 40 to something more leftfield. [July 2010, p. 97]

It's all Iggy-growl motorik country-boogie and modal psychedelic blues jams. [May 2014, p.96]

[Wand] deliver their heavy acid rock distortions with an Oxford-shirted campus naivety that lends their debut an added weird darkness. [Oct 2014, p.86]

His solo debut is packed with syntax-mangling wordplay. [Apr 2015, p.95]

Peace Or Love is sophisticated without being easy, a quiet storm all of its own. [Aug 2021, p.86]

Side two, however, veers into arch Euro-pop (I Don't Have Control Sometimes) and moody balladry (Stand By Me), and Sunflower Bean's new-found confection begins to set one's teeth on edge. [Jun 2022, p.87]

Danger Mouse asked the pair to write songs for Ike Turner and ended up producing the best album of their career so far. [May 2008, p.111]

Frankly, you could get drunk just on the minutiae here. [Feb 2005, p.92]

[Boy & Girls] casts Brittany as a soulful singer, but the album is more Xerox copy than feel and spirit based. [May 2012, p.86]

Neither the return of the Last Gang In Town, nor the crisp, literate, wonderfully confident pop with which Albarn perfectly crystallised the mid-1990s. Instead, The Good, The Bad & The Queen is a noir-ishly understated suite of songs, further testament to its chief author's need to keep on moving. [Jan 2007, p.98]

To Find Me Gone won't win any awards for wheel reinvention, but it's no sterile exercise in genre classicism. [Jul 2006, p.101]

Those who have stuck with the Glasgow act this far will find much to enjoy here. [Feb 2015, p.90]

The sprawling Montreal ensemble [is] nback at their most spirited, their Weltschmerz poured into wordless music of soaring transcendence and, on occasion, fierce beauty. [Dec 2017, p.91]

It's a joy to hear VDP's mission with the boosted clarity of 21st century production. [Jun 2013, p.87]

The album's soft-haze strings are to die for, and the trad-sounding Trusty And True has admirable reach and dignity. [Dec 2014, p.100]

Songs are wispy but melodies strong. [May 2019, p.96]

By embracing the space between, Taylor has created a meditative, magical record. [Oct 2021, p.91]

A classic work...together [her collaborators] have created a near perfect, and wonderfully paced, stage for the singer. [Oct 2004, p.112]

This is an album that stands up to the touchstone indie classics it references. [May 2011, p.112]

A true treasure from the archives. [Dec 2014, p.109]

What it lacks in vocal grit it makes up for in abundant hooks. [May 2019, p.96]