Gendron places her gorgeous songs on a far more uneasy footing, seeking out new, strange routes for these ancient folk roots, resulting in an album that us both comforting and confounding, and depthless in its strange beauty. [Jul 2024, p.92]

It's a rare delight to hear a band so accomplished take what it does so seriously without taking itself that way. [Jul 2024, p.87]

Field of Reeds is a startlingly listenable proposition. [Aug 2013, p.92]

Today it sounds quintessentially McCartney. [Jun 2012, p.100]

Nothing suggests that Parton has lost her touch as a writer. [Aug 2014, p.94]

Here the ensemble hangs together a little more coherently. [Jan 2026, p.86]

That [Psapp] completely circumvent high blood sugar whimsy is testament to the duo's songwriting ingenuity and Durant's silken vocal cords. [Apr 2005, p.89]

European Heartbreak feels wonderfully whole, bound together by De Graaf's sweetly inscrutable voice and the unshowy, languid complexity of her songs. [Nov 2018, p.92]

Davachi’s work can be gently provocative but it’s never anything less than stimulating. [Oct 2024, p.91]

Things work best when the musical surroundings match their respective vocal style and they create something resembling the cinematic edge of Johnny Jewel's Chromatics. [Oct 2014, p.93]

Rice doesn't dismiss outright the folky troubadour charm that distinguished O, but here it's a springboard for jealousy, sex, misery. [Dec 2006, p.104]

Her debut LP eschews 4/4 rhythms to create a loose-limbed, free-ranging treat. [Feb 2020, p.91]

Chorus probes that the light from Lush's star still shines brighter and stronger than anyone might have suspected. [Jan 2016, p.105]

It's colourful and imaginative while exerting a familiar pull. [May 2021, p.84]

Each time they break free of their own locked groove, achieving mood-elevating uplift via genius structural shifts, or wig-flippin' solos spiritually comparable with Hendrix or Neil young. [Jan 2013, p.98]

Their reunion album fizzes with energy--although it retains the underlying melancholia that defined their previous work. [Mar 2016, p.95]

Inventive, swinging, dud-free and very musical: terrific entertainment by any standards. [Mar 2016, p.94]

Nothing is ever explained, but ambiguity only reinforces Sorry's wonderfully slippery presence. [Apr 2020, p.95]

The simultaneous warm/cold currents, recalling Broadcast, are reflected in Ramani's word. [Jul 2021, p.84]

Capturing the duo's perfect balance of fan with technician, it plumbs indie music's past, inhabiting the same sonic atmospheres as the JAMC, MBV and Joy Division, but is executed with expert ability. [Apr 2016, p.90]

This album has been well worth the wait. [May 2018, p.91]

Evilly powerful, filmic and flowing. [Jun 2017, p.88]

"Back In Back" it ain't, but it's certainly a real return to form. [Nov 2008, p.102]

Admirers of Granduciel's previous forays along E Street won't be disappointed. [Apr 2014, p.91]

There is a stark grandeur in songs like the almost Leonard Cohenesque title track, and the gritty, abstract New York Is Killing Me. [Mar 2010, p97]

Hit reset is stronger overall, because here The Julie Ruin fixes the spotlight on its raison d'etre, a woman who, in her own words, "can play electric guitar while shaving my legs in a moving car." [Aug 2016, p.94]

A more contemplative tUnE-yArDs? No bad thing when the goose-bumping post-punk gloaming of Time Of Dark is among the unexpected bonus. [Jun 2014, p.88]

Lidell's bluesy wail goes head-to-head with a dense, churning groove in what can best be described as anti-R&B. [June 2010, p. 97]