The most instantly appealing to date, channeling a high degree of emotional intensity and a remarkable sense of joy through minimal instrumentation. [Jul 2020, p.87]

Twelve Nudes' unbridled howl, mania and joy is on the nose. [Sep 2019, p.95]

A similar osmosis of Bunneymen and Chameleons' dramarama as Interpol. [Mar 2004, p.106]

Ethereal snatches of long-lost voices from old 78s, stentorian tones of TS Eliot and--on Richardson Road--Robert Wyatt adds plenty to this warm-hearted electronica. [Aug 2012, p.87]

Rice establishes an extraordinary intimacy here. [Oct 2003, p.107]

There are moments when dear slips down pop alleys, but for those following, there's a creeping sense it could turn a bit Don't Look Now at any second. [Sep 2012, p.86]

It's the rarest of soundtracks: one that makes you excited to watch the documentary, not the other way round. [Feb 2026, p.80]

A useful and thoroughly entertaining precis of one of the great 21st century rock projects. [Jan 2021, p.101]

Swearing At Motorists are drunk'n'roll successors to The Replacements and Guided By Voices. [Mar 2006, p.102]

Blau exercises an instrumental vision to rival his studio and vocal nous. [Jan 2018, p.90]

This is a new mature indie scene in the making. [May 2022, p.94]

There’s some very fine rock songs (Sally Was A Cop revisits the “Oh-oh-oh” singalong on Willie Mays Is Up At Bat from Temple Beautiful) and excellent ballads, from Americana closer It’s A Good Day To Be Alive to truly beautiful Red Sky Night. [Nov 2024, p.89]

This terrific follow-up [to 2016's Hold On] captures the sparks again, and there are plenty of them. [Mar 2018, p.97]

Hulking beats and a cloudy, black electronic roar set the tone, but powerful sound design is the key. [Feb 2020, p.91]

The waves that roll through Mosaic are chiller, more austere, but no less beautiful. [Feb 2025, p.89]

Hval's folkish vocals and poetic framing deliciously counterpoint a fusillade of muscular beats and Volden's jabbing guitar. [May 2021, p.87]

2012;s Rhine Gold album leant more on burbling electronica, while Grasque pushes further still, into slow R&B jams, chillwave, even George Michael when Makrigiannis uses his higher register. [Mar 2016, p.95]

In The Future showcases a group who knows exactly what they're doing. [Feb 2008, p.101]

One Day Away, with Urban, is country-lite, but everything else is heavy with the weight of Guy's skill and experience. [Jan 2014, p.101]

Krautrock-tinged, distortion-clouded synthpop covered in soft blankets of breathy, post-Cocteau's vocals... Just breathe it in. [Dec. 2011 p. 98]

A must for fans of either protagonist, plus devotees of classic Todd Rundgren and Ween. [May 2017, p.94]

This is a powerful collection of contemporary battle hymns that rings out lie a well-needed musical call to arms for the 99 per cent. [Feb 2014, p.88]

With its acute portraits of a troubled and tangled life, Reunions is ultimately a story of redemption through fatherhood and self knowledge, epic country-soul opener What've I Done To Help setting the mood perfectly. [Jun 2020, p.95]

Fans of Fleet Foxes, Bon Iver and Mercury Rev's Deserter's Songs take note. [Nov 2008, p.19]

Joyland has a coherent feel of low slung rock'n'roll and Morricone twang. [Apr 2015, p.96]

Above all it rocks. A hooky, memorable album. [May 2012, p.87]

A clear rejuvenation, the occasional triteness that softened earlier work largely absent from these close-woven songs. [Nov 2003, p.125]

In general the Heaton touchstones are all present here--shortage of definite articles, politics, wrinkles, a rockabilly number--with an energy and a sly melodic wit which puts Crooked Calypso up with his best work. [Sep 2017, p.90]