A collection of songs which rings with the same deeply felt, universal truths of Bon Iver's For Emma, Forever Ago and Ryan Adam's Heartbreaker. Chillingly authentic. [Aug. 2011, p. 100]

Peaks: Tough Enough's flouncing post-punk; radiate's bright, Buzzcocks-meet-The Knack groove. [Apr 2019, p.96]

Danger Mouse's illustrious production CV is a big draw but it's his classy discretion in play here, giving plenty of space for Black Thought. [Sep 2022, p.86]

Over its 11 tracks, it draws the listener fully into its dreamworld. [May 2025, p.86]

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

'Where to Here,' Slippery Slope (easier),' and 'In My Arms' are equally deadly writing, with gripping melodies and sing-out performances that seem to have benefited from listening to his pal Rufus Wainwright--and from arrangements by Wainwright's latest producer. [Sep 2008, p.112]

Much of the album's charm lies in its simplicity, often paring back the instrumentation to focus upon the group's strongest elements. [Nov 2010, p.96]

Blurry Blue Mountain is as idiosyncratic and left-handed as ever, pregnant with moments of mercurial magic. [Dec 2010, p.104]

See-saws between manic joy and depressive darkness but never loses its sense of wit, grace or noise-dipped tunefulness. [Oct 2021, p.96]

Thrilling collective racket. [Dec 2022, p.90]

It's mighty good. [Jun 2015, p.93]

Drifts somewhere between Mogwai's softest moments and Her Space Holiday's wry prettiness. [Aug 2004, p.101]

Songs decay, disappear, swell, mutate, Dalt's seductive, lonesome voice investing them with a sinuous, alien romanticism. [Feb 2023, p.87]

Since 2010's Old Punch Card, he's added opulent modular synthesis to his armoury, a pursuit that reaches an accessible apotheosis here. [Aug 2020, p.89]

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

Old skool studio wizardry abounds. [Mar 2004, p.107]

It hangs together and, indeed, convincingly documents fragmentation of the individual. [Sep 2018, p.94]

Tracks such as the thunderous Six-Pack or The Fall Of Paul might clang with dissonant noise or pinball off into a riot of machine gun rhythms, but it's generally not at the expense of songs that a festival crowd could bellow back at them. [Apr 2023, p.83]

Morton & Russell rarely overplay their emotional hand, the music colour-changing to match the narrative of damage and resilience. .... Once it locks in, Daffodils & Dirt is hard to shake off. [Jul 2024, p.88]

The evidence here is that he's maturing nicely. [Jun 2012, p.88]

Bruland has build her formative P.J. Harvey influences with a blurrier, chillier mix of guitars and electronics, landing somewhere bewitching between Broadcast, My Bloody Valentine and Lush. [Jan 2022, p.87]

Much of Ill Times Andrew Perry swings by like a more ’80s-fixated Black Keys (particularly yowler Fool For You), with Kenny-Smith unforeseeably excelling on the mike as a soul man, exorcising paternal bereavement (Dud) and the title track’s all-pervasive life agony. Old Transistor Radio busts out P-Funk proto-hip-hop, but there’s sufficient finesse here to make this team-up a keeper. [Sep 2024, p.93]

There's lyrical playfulness throughout. [Oct 2014, p.89]

The propulsive beats, loping low-end and metallic synths of Glass Effect push the swirling arrangements of last year's Breathe Suite EP into a deeper realm. [Jun 2022, p.89]

A potent psychedelic wash blurs the edges of these 10 tracks from trippy chimes to crackling static experimentation. [Feb 2019, p.93]

If the band have upped the musical chaos, there's still an unashamedly romantic feel. [Feb 2018, p.98]

Nelson has not lost any of his breath control and singular phrasing. [May 2021, p.78]

There's real beauty here and Silberman marries eventual accessibility with gentle boundary-pushing to create his own, thoughtful world. [May 2021, p.84]