They're still relentlessly heavy, just less hypnotically so. [Jul 2013, p.111]

The Convincer slots in smoothly behind 1998's Dig My Mood. [Oct 2001, p.126]

Thumpers work hard to trigger instant nostalgia for summers past but the longest shadows cast over their work are those of Animal Collective and Flaming Lips. [Jul 2014, p.117]

Sorrowful dance and defiant house beats wind throughout, bringing unity to the scattered sounds. [Oct 2019, p.109]

Tortured and in need of an edit, it's not for the casual listener. [Aug 2014, p.111]

Strives a little too hard to display their twitching eclecticism. [Feb 2006, p.101]

There's comfort in the intensely melodic Surfer's Lament, and if there must be impossibly soapy love songs, they might as well be as lovely as My Heart Belongs To You. [Feb 2014, p.119]

Absorbing, if not exactly inviting. [Apr 2015, p.100]

It's not the most direct communicator, but Panic Blooms still transmits its unease very effectively. [Jun 2018, p.106]

It is still a loose affair, but it allows the quartet to explore the far reaches of their songs rather than just wander folk's outer soloar system. [Nov 2009, p.103]

It proves to be an entertaining and profitable arrangement. [May 2010, p.112]

The dystopian mood ultimately delivers more chills than thrills. [Aug 2017, p.112]

There's still heart and soul in that funny old voice. [Nov 2004, p.118]

While his debut's defiantly un-PC lyrics take inspiration from '90s gangsta mavericks such as Three 6 Mafia, the electronic murk that surrounds them on tracks such as Get Yah Head Bust is utterly of the moment. [Jul 2012, p.110]

It's still a quietly engaguing offering blessed with a lyrical lightness and organic Tucker Martine production. [Jul 2010, p.135]

Of the four new tracks, Just Like We Never Said Goodbye is the pick, evoking a John Hughes school disco scene soundtracked by Aphex Twin, though anyone feeling the package still lacks substance can select the full "Silicon" option at Sophie's webstore. [Feb 2016, p.118]

It still nods to The Velvet Underground and strung-out '80s pioneers Spacemen 3 and Loop, but chord changes are no longer as rare as Shane MacGowan's teeth, and there's more of a pop sensibility. [Dec 2013, p.117]

Hey Joy, the second track on The Districts' fourth LP, is a moment of near-perfection. ... It's a bar the rest of You Know I’m Not Going Anywhere never quite reaches, though, it comes close. [May 2020, p.106]

Their densely textured song structures and layered song harmonies reward repeated listening. [Sep 2010, p.120]

All over the place, he takes you along for an engaging ride. [Feb 2012, p.97]

The star throughout Joyland is Spedding's guitar, but the record isn't entirely all his own show. [Apr 2015, p.111]

The slower numbers, built around pneumatic electro basslines and memories of Giorgio Moroder soundtracks, aren't as slick, though 58BPM's is a stylish, slow-motion homage to the neon-lit world of '80s synth-pop. [Apr 2014, p.120]

Adamson's not abandoned the scary swing tunes that made David Lynch a fan... merely added another gear. [Oct 2002, p.100]

By turns magical and maddening, it's with the house-tinged ambience of singles Breath and Love Can Damage Your Health that they excel.

It's DIY-spirited, non-conformist and humourous, making this punk-war veteran's return a flavoursome treat. [Apr 2011, p.109]

When they're not trying to be someone else, these lavishly layered, exquisitely crafted songs add to the mystery of why The Veils keep missing out. [Jul 2013, p.112]

An afterhours ambience attending his salty evocations of vintage soul, R&B and rock and roll. [Jul 2014, p.117]

For all of its typical craftsmanship you can't help but wish it had more moments like the stark despair of My Rock, My Rope. [Oct 2018, p.119]