This follow-up boasts a more cohesive sound but without sacrificing the duo's Eastern-influenced allure. [Jul 2012, p.108]

The plush, throbbing synths and twinkling tension that filled Feel It Break are conjured again here, but there's a subtle shift this time in the dynamic and Olympia's power lies in its marimba-infused percussion. [Aug 2013, p.93]

These songs might waver and stumble, but they still feel like a successful step forward. [Jul 2019, p.106]

Almost the equal of 'Ordinary People,' 'No Hidden Path' again demonstrates that when the contary old buzzard plugs in and really goes to work, it's still a thrill like no other. [Dec 2007, p.113]

This is his most pleasing solo album for a decade. [Mar 2008, p.108]

It's a truly haunting record populated by ghosts. [May 2005, p.116]

Classy cross-pollination of techno and dubstep.[Nov. 2011, p. 136]

The Hawk Is Howling is similarly impressive [to "Mr. Beast"], the band's earlier experiments in noise more reined in, allowing a subtle and textured approach. [Oct 2008, p.149]

Those converted via the O Brother Where Art Thou? soundtrack may find the starkness and religiosity here unpalatable. [Jan 2003, p.123]

A haunting, left-field album of some class. [Jun 2003, p.96]

A mess. [Feb 2003, p.107]

As always, fans will adore, everyone else will ignore. [Sep 2004, p.123]

Buoyed by a blissful, lovestruck mood, this album's sumptuous tone elevates it beyond familiar terrain. [Aug 2002, p.128]

Rhythms skip and play seemingly without touching earth... These are manifestly the labours of a man still with something to say. [Nov 2000, p.109]

[Producer Andrew Weatherall] helped bring out a kind of claustrophobic, harmonic distortion. [Mar 2012, p.113]

Music Complete is like good architecture: impressive in scale, the layers precisely pitched and the repetition absorbing. [Oct 2015, p.116]

The end-times have rarely sounded so sweet. [Mar 2014, p.113]

All in all, it makes for a promising re-start. [May 2015, p.106]

This second effort duly ushers in a greater sophistication, with near Kinksian observations of the waster mindset, set to a broader musical spread, laced with monster Who-y riffs and tinges of neo-psych. [Oct 2015, p.107]

At times--'Little Secrets,' despite its kiddie choir, 'The Reeling' and 'Moth's Wings'--it's a little too cloneishly Jake Shears for comfort. At other, though, they soar with MGMT-esque widescreen vitality. [Jun 2009, p.130]

Together Through Life is not by any yardstick classic Dylan. Even so, it's hard to imagine there's an item in his catalogue that he adores more. [Jun 2009,p.116]

The follow-up adds a little of their own personality and comes submerged in a refreshingly bratty wall of noise. [May 2013, p.107]

This is no Loveless but it is lovely. [Jun 2013, p.93]

The first few tracks feel like a positive transformation into sharper songcraft, but when New Moon latter half descends to the noisemongery of yore, right down to Freaky's flat-out Dinosaur Jr.-ism, one does have to ask: will the real Men please stand up? [Apr 2013, p.107]

Touring with Coldplay have clearly done little to dim the scale of Meiburg's ambitions. [Mar 2012, p.112]

Pointless drifting that fails to grip even on repeated listening. [Jun 2005, p.118]

Robin Carlsson has transcended myriad label problems to transform herself into the most glamorous and most fascinating electro-pop diva. [July 2010, p. 139]

The country reggae of the title track may be too far for some, but mostly Speer's country art-rock with a side of Southern fried is damn tasty. [Apr 2014, p.106]