His trademark lyrical honesty and sublime fingerpicking remain at the fore. [Oct 2013, p.99]

This confident follow-up is rawer, looser and altogether more agressive. [Apr 2009, p.97]

An exhilarating workout for mind and soul. [Dec 2015, p.103]

A collection of jangly guitar pop that struggles to locate a niche within their favoured genre. [Mar 2019, p.116]

Any nuance is stomped by hectic drums and background chants, but it's hard not to warm to people acting on the very human compulsion to make their presence known in case they spin out of reach forever. [May 2017, p.107]

At times it meanders, but their weirdness is quite wonderful. [Nov 2007, p.134]

A catalogue of enjoyable sun-drenched rock'n'roll, if you don't listen too closely to the words. [#361, p.116]

While Molly O oozes foreboding, Meet Me In the Alleyway is eerily reminiscent of The The and the Grammy-nominated This City is a genuine gem. [Jun 2011, p.114]

The synthesised tropical shimmers, buzzings of insects and blat of helicopter blades largely lack the momentum to sustain interest outside the cinema. [Jul 2002, p.112]

The results are accomplished, but the yearning twang of the porch is never far away. [Jan 2005, p.127]

Once you've bequeathed them your synapses, the rewards are great. [Aug 2004, p.116]

A fine start. [Mar 2004, p.113]

Frequently explodes with ideas. [Oct 2003, p.112]

Although less retro than chums Jurassic 5, their Hispanic-flavoured style constantly edges between sounding cool and simply withdrawn. [Nov 2000, p.101]

Despite such big hitters as Bon Iver, Sufjan Stevens and Arcade Fire, it's an overly introspective affair, with little standing out bar contributions from The Decemberists and Dave Sitek. [Mar 2009, p.102]

Fizzing with energy and wearing its Pixies hat with pride, Touchdown is a blast of brain-scrambled indie rock that reaches its apogee, of sorts, on the irresisitibly dumb 'Hey, Hey.' [May 2009, p.119]

The home recordings, however, insist this is probably for fans only. [Jul 2009, p.138]

Infectious, sun-bleached and psychedelic--the welcome return of a South American institution. [Oct 2009, p.114]

Their debut...has all the right soul/pop/early Motown moves, plus enough retro fizz to get any party started. [Oct 2011, p.130]

They share a love for the kind of heady jams previously lost in the mists of the '70s psychedelia, Shadow's On Behalf's shimmering harmonies and loose-knit rhythms drawing inspirations from such exponents of starry-eyed soul as David Axelrod and Rotary Connection. [Oct 2011, p.130]

Good Morning to the Night is a truly remarkable record, one that will repay your deep and repeated listening tenfold. [Aug 2012, p.99]

The album's slow, soporific pace can mean it sounds similar from song to song, but Okumu's voice pivots everything. [Jul 2012, p.104]

The album's closing songs blur into a somewhat too-cushioned landing. [Dec 2012, p.112]

A simple, joyful late-career bloom. [May 2013, p.106]

[Linden's] breathy vocals elevate these warm, enveloping songs to a richer level. [Feb 2014, p.116]

Yann Tiersen's latest is as distant from that film's {Amelie's] accordion-powered melodies as his native Brittany is from Paris. [Jul 2014, p.117]

He's let down by an anaemic production. [Jul 2014, p.118]

As ever, you end up feeling there's method somewhere in his madness. [Nov 2014, p.104]