Hallucinatory sonic landscapes that whistle, throb, sing and buzz like the heightened inner-space rhythms of the body. [Apr 2014, p.95]

Urstan find Roberts'signature whistling-kettle delivery ... framed with guitars, fiddles, drums and brass. A peaty, heathery authenticity pervades - to compelling effect. [May 2012, p.88]

Tremendous fun throughout. [Sep 2017, p.87]

Crow sounds wholly at ease, but for all the vocal variety Stevie Nicks, James Taylor and a rueful Vince Gill bring, she doesn't sound wholly inspired. [Oct 2019, p.89]

Armstrong continues to lean on lyrical phases that sound clever but don't say much. Still, the album includes several strong character sketches. [Nov 2016, p.88]

Roadsinger really does pick up where Cat Stevens left off back in the late '70s. [Jun 2009, p.103]

There is a certain sameness in evidence that makes the album more meditaional aid than rip-snorting prescription for maximum engagement. [Jan 2012, p.90]

Lucid lyrical imagery punctuates the muzzy near-consciousness. [Sep 2013, p.96]

A wonderfully mellifluous, atmospheric affair. [Nov 2013, p.94]

A little under-sung in mumbling modern folk shorthand for emotion, but lovely. [Jun 2017, p.95]

[The Long-Awaited Album exudes] humour on such tracks as Caroline and Strangest Christmas Yet. Martin also offers a touch of romance with All Night Long and delivers a chunk of heads-down speedgrass with instrumental Office supplies. [Dec 2017, p.87]

Tempting to ask for more of this dark night of the soul. [Jan 2018, p.94]

Williams' storytelling gift is palpable, but pleasant to alight on though it is, Front Porch perhaps lacks that one outstanding merger of lyrical acuity/melodic potency, a la Dolly Parton's Jolene. [Jun 2019, p.89]

It's where Elbow and Springsteen intersect. [Mar 2020, p.96]

The quieter moments work best, like the moody, organ-led reworking of Shakin' All Over, which lesser bands have thrashed into the ground over the years but really shines here. [Dec 2023, p.86]

On record it’s more the spoken-word sections that grab the listener. [Jul 2024, p.93]

Little Honey is, then, a something for everyone offering. And a few will be disappointed. [Nov 2008, p.104]

A formidable piece of work, repositioning Mercer away from his Pacific Northwest indie rock peer group. [Apr 2012, p.82]

While Kenny still sounds like he's mumbling mantras to himself, the band's soft-focus allure remains undiminished. [Oct 2005, p.102]

The results are truly beguiling. [Jul 2009, p.104]

Keeps a glossy electropop trajectory, but there's a precarious tilt to the shoegazing rush of Do You Still Believe In Me? or the startling heartbroken lyrics of Dolphins. [Feb 2026, p.87]

Blood proves to be another mixed bag. [Aug 2015, p.92]

V. creates a sense of space, both mental and physical, as well as the idea of an alternate perception that is the calling card of West Coast psychedelia. [Jun 2018, p.91]

Their improvisational roots are still evident, but the bursts of outsider pop shining through proves they have plenty more to dig up. [Jan 2019, p.89]

Despite being probably the best illustration of the scope of his creative impulses, ultimately Life Is... capsizes under the weight of its own cleverness. [Feb 2010, p. 104]

A reflective, pop album fit for a rainy afternoon. [Mar 2003, p.103]

What keeps him afloat is his unflagging pursuit of a good tune. [Nov 2002, p.102]

Electric piano and pedal steel-caressed intimacy rules the day, keeping attendant preciousness almost, if not completely, at bay. [Aug 2004, p.99]