There's months of listening here. [Nov 2012, p.108]

There's much here to justify Alan McGee's awe. [Oct 2008, p.148]

An artist on the verge of a spectacular breakthrough. [Oct 2013, p.107]

At times, strangely purging - and almost euphoric - most of MMXII still sounds like the end of civilisation as we know it. [Jun 2012, p.106]

As always with this gem of a musician, all human life is here. [Sep 2012, p.113]

The Big Other is a pure and unexpected delight. [Apr 2013, p.101]

If there's a touch too much retrospective pastiche, there's also wit and mellifluousness. [May 2014, p.115]

The greatest family jam you'll ever hear and an absolutely essential album. [Jan 2015, p.132]

As ever the brush strokes are broad and the confrontation is intense but it's good to know their fire is afar from undimmed. [Apr 2015, p.95]

Confident in its own weirdness, Love In The 4th Dimension is as enjoyable as the live shows that birthed it. [May 2017, p.100]

It's clever, effortless and very likable. [May 2020, p.110]

I Love You. It's A Fever Dream is hardly cluttered, but it's those little details that really lift his fifth LP as The Tallest Man On Earth. [Aug 2019, p.116]

Big, bold and joyful, it's exactly what a great pop album should be. [Jun 2015, p.105]

Hive Mind sounds at once strange and familiar. [Mar 2012, p.100]

It's a beautiful thing--its 10 songs have a drowsy, mizzled feel, reminiscent of the Cocteau Twins. [Aug 2017, p.103]

If they're undone by anything, it's their puppy-like, kids-in-a-sweet-shop enthusiasm for their prowess. [May 2016, p.104]

It's intoxicating listening that demands repeated attention. [Oct 2012, p.102]

Their former high-speed heedlessness has been supplanted with a new awareness of song structure, grown-up texture and non-red-zone pacing. [Mar 2013, p.94]

If it sounds oh-so-ironic, it isn't; the Handsomes may exisit on country's oddball fringe, but they're no comedy act. [May 2009, p.112]

This effervescent debut seems determined to shake off the tragedy. [Oct 2008, p.150]

It tails off slightly with too much frosted minor chord melancholy and some monochrome male vocalists, but there's nothing to suggest creative exhaustion. [Jan 2015, p.129]

Just think how much more she could do with that glorious voice. [#180, p.112]

You might not easily hum its tunes, but you can often salute its good taste. [Oct 2004, p.121]

Lyrical delights lurk round every turn. [Dec 2003, p.132]

They make often wistful, often wry, but always intelligent pop.

A fine album which often suggests Elliott Smith wreaking merry havoc in a library of sound effects. [May 2001, p.116]

The Casadys' knack for sifting vivid, dreamy songs out of harrowing subject matter is no less potent here. [Jun 2013, p.96]

The singer's greasy, street pimp-talking vocal style is sometimes at odds with The Sadies' cleaned-up garage vibe, but if you can reconcile a 70-year old drug addict growling: "I like my rum, cos I got no teeth, I let it flow over my gums"... with fiddle-led folk rock and surf guitar, then Night & Day will push all your buttons and then some. [Aug 2012, p.111]