It has a gentle, pared-down intimacy, flowing with acid ballads and devotional dream pop. [Jul 2022, p.86]

Another of those Mac DeMarco LPS wherein a deliberately spare palette pays dividends. [oct 2025, p.90]

Circuital sees them negotiating their place in the world with heartening vigour. [July 2011, p. 103]

Alight Of Night is devoid of current context, making for a weird timelessness. A treat. [Mar 2009, p.108]

While the key of Random Desire is mostly subterranean, when the serpentine build of The Tide breaks, the impact is undeniably soulful and powerful. [Mar 2020, p.88]

Two Of Everything is a sure-footed progression from 2009's self-titled debut, thanks to the warm co-production of Dan Auerbach (Black Keys) and the pair's willingness to push the sonic envelope into the outre zone, even embracing bagpipes. [Sept. 2011, p. 96]

A convincing and often quite brilliant restatement of Ubu's early noir-meets-B-movie-sci-fi inclinations. [Feb 2013, p.93]

Recorded, mixed and mastered in just two weeks, Chop Chop oozes zest and focus. [Aug 2013, p. 89]

They are scarcely comparable to the original band versions with electric guitar blazing and in some cases Linda Thompson singing; but there's a certain magic in hearing these classics in such intimate form. [Sep 2014, p.88]

The compelling, all-instrumental 39-minute studio performance remains recognisably a Field Music creation. [Aug 2015, p.94]

Solid and dependable rather than spectacular. [Jun 2022, p.91]

Covers include The Four Tops' Loving You Is Sweeter Than Ever cooked into greasy Southern soul, and the title track, where, backed by Derek Trucks on slide guitar, she delivers the hymnal straight. [May 2017, p.96]

There's undeniable joie de vivre to the airpunching I want To dance but his "doing it for the kids" rhetoric and propensity to wallow in rose-tinted nostalgia gets a little corny. [Jun 2013, p.92]

Expectations are defied by a series of grand, eccentric chamber essays, and only a paucity of Tiersen's killer melodies disappoints. [Nov 2011, p.99]

Even in Beth's comfort zone, her acoustic band, produced by Tucker Martine, enrich some beguiling songs, with not a dud among them. [Nov 2012, p.90]

Spare, simple, languid, often Ens lacks, ironically, is a wildness. In the end, it's just a little too tame. [Jan 2019, p.85]

Sustaining a dreamworld mood throughout, Changephobia is a quiet beauty. [Jul 2021, p.87]

There are some anthemic rockers--the '70s Stones-esque Until Justice Is Real is good, the strident backing vocals not so much--but most of the album's highlights are the midtempo or slower songs. [Sep 2021, p.84]

Of the various sidelines spinning off Vancouver psych-rockers Black Mountains, this is the prettiest. [Sep 2009, p.102]

The beautiful results make it clear that, unlike poor Charlie Brown, he does understand. [Jan 2015, p.92]

As expected, it's perfectly executed. [Apr 2019, p.89]

Paint A Room’s hooks work in unassuming ways, carrying mid-’80s Creation vibes à la Weather Prophets or Westlake. [Sep 2024, p.86]

Mavis tries to stamp authority on songs written by ward's musician pals.... They're not all great though--neither the Charity Rose or Nick Cave contributions hit the spot. [Mar 2016, p.99]

The mangled, jangled garage-pop of Rushing The Acid Frat or Ocean Of revenge's dexterous fable-spinning remain at one with his cosmic professor MO, though, proof that Malkmus can vibrate beyond his usual frequency without losing himself or his listeners. [Apr 2019, p.89]

The music and mood's emotional connection makes the Furnaces a band to love at last. [Sep 2009, p.95]

Sam Beam has made a commercial record by the simple expedient of making a beautiful one. [May 2013, p.84]

The overall mood is one of muted, minor-key sadness, Sakamoto's clear, simple piano lines eroded and blurred by the melancholy atmospherics of Fennesz. [Feb 2012, p.97

[Black Women is] the key cut on a third album that shows he's maturing impressively. [Apr 2014, p.97]