Opening and closing tracks Begin and Oh Men are breezy, playful electro pop, but for the most Gordon creates a variety of grand soundscapes to which the singer adds gentle, disembodied vocals. [Oct 2016, p.99]

This debut captures their explosive energy and thunder; this is a band, that when it's found its own voice, will definitely go the distance. [Mar 2012, p.921]

This sounds raw and mighty, but somewhat same-old. [Dec 2019, p.94]

The bursts of industrial trash, though dexterous, feel superfluous. [Sep 2014, p.98]

Spencer build this world of thrift-store influences and acid wit, and he sounds happy there. [Dec 2018, p.88]

Vessel creates a sense of immersion and collapsing boundaries. [Jan 2018, p.89]

The Fratellis' third album is simple and uncomplicated. [Nov 2013, p.94]

Daft, overblown and sometimes unintentionally hilarious. [Nov 2014, p.90]

Hither he thunders, with an excellent 11-track battery co-produced by super-sticksman Jim Keltner in Memphis. [Nov 2014, p.90]

Cute, but tiring over a whole LP. [Apr 2018, p.96]

Though a very beautiful whole, the mid-tempo Picture You is samey and only breaks its mood on Fryshusfunk. [Mar 2014, p.98]

The instrumental work is impressive throughout, but Gidden's vocals are the main attraction. [Apr 2012, p.88]

A beautiful, eerie thing. [Apr 2012, p.95]

It would be easy to write off the album as pastiche but a confessional, honky-tonk-styled "Cigarettes," and the grit Merriweather puts into the immaculately fashioned grooves, show he's more about feel than fashion. [Jul 2009, p.95]

There was mmuch to anticipate, but it falls short of the promise. [May 2011, p.114]

Fans are well served, but newcomers might tire waiting for the group's charms to percolate. [Feb 2002, p.93]

Kveikur largely conforms to existing Sigur Ros templates, and though the quirky rhythms and ethereal vocals of Isjaki spawn a certain magic, something is audibly lacking here. [Jul 2013, p.82]

Radical tech rockers' microshift to the center ground. [July 2011, p. 100]

Rattle's haunting weird-pop stands out like ghosts in the daytime. Spread over an album, truthfully, it's a trying listen. [Sep 2016, p.93]

Most of I Have Notes is a shop window for Gouldman’s songwriting craft. [Sep 2024, p.87]

When he's good (Con Conn Was Impatient, B'n'D) he's sublime. [Nov 2018, p.96]

Based on what's here, it's impossible to guess which could follow next. [Jul 2023, p.84]

[A] confusing, sprawling grab-bag. [Nov 2014, p.90]

Setting out its wares most convincingly with dreamy weighlessness of The Gaudy Side Of Town. Relayted gives a nod to its influences with a cough syrup slow rendition of Godly & Creame's '80s classic Cry before drifting off into a heavy-lidded haze punctuated by the occasional flurry of woozy dub and ethereal funk. [Jul 2010, p.92]

Earnestness often rules. ... They're better at slushy, Radio 1 epics and louder, brasher tracks. [Jul 2020, p.78]

Howl is most powerful on the aptly titled Everything Is Happening At The Same Time and the Yearning Strange Beauty. Seeing him play these songs live might flesh-out Howl's sometimes too-deliberate feel. [Jun 2020, p.94]

The Errant Charm lacks the edge needed to be more than a counter-cultural accessory. [July 2011, p. 102]

There is humour to the harsh, spangly electropop of tracks like Feel For You and Vampires, but in places the concept is a little too arch and pumped up, sounding like a teen Netflix drama. [Oct 2019, p.82]