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

Sonic Bloom is about inch-perfect accuracy. In other words, re-enactment. Period. [Apr 2014, p.115]

Potent, and strangely noble. [Nov 2009, p.112]

A reflection on a childhood spent between Glasgow and Newcastle, Get Lucky is all muted colours, bluesy licks and hard-won wsdom, delivered with a subtlety benefitting the presence of Scottish multi-instrumentalist John McCusker. [Oct 2009, p.113]

It doesn't all work, but there are euphoric peaks... that rival the far-out grooves of David Axelrod and The Flaming Lips. [Aug 2004, p.106]

Looking for fresh inspiration, he relocated to Los Angeles for this third album, embarking on some musical revisions that will surprise even long-time fans.

The maestro's arpeggiators show no signs of seizing up, even if there's a touch of melancholia about Tangerine Dream-like opener First Movement and Clean Air. [Aug 2018, p.116]

The melancholic croon of frontman Will Daunt, a man who sounds as if he's caressing a broken heart rather than nursing it, give these ever-so-now songs an old-world charisma. [Jun 2012, p.115]

Mulberry Violence is uniquely unhinged. [Sep 2018, p.117]

Fink runs the folk gamut from A and B quite beautifully. [Aug 2014, p.106]

Revisitations of several Fall tunes, such as Hotel Bloedel from Perverted By Language, allow her glam spirit to shine, minus MES's obfuscation. New compositions are hot too. [Nov 2017, p.104]

For all the wit, layered invention and easy-on-the-ear harmonies Deakin and Franglen bring to '64-'95, there's a corresponding lack of intrigue. [Feb 2005, p.94]

It's hard to see it as anything more than another mildly diverting whim. [Apr 2006, p.116]

Many of the collaborations are jarring. [Jul 2006, p.115]

What really matters here is texture, delivered in abundance as she plucks and picks her way around harps, guitars and all manner of acoustic backing, her celestial freak-folk voice bewitching the listener. [Oct 2010, p.103]

There's an element of "always the same but always... the same" here--but when Pollard hits his cryptically emotive cruising altitude on Carapace or The Rally Boys the guitars accelerate around their pilot, his chose songwriting vehicle always flies. [Apr 2019, p.113]

As an attempt to connect while keeping aloof, it succeeds. [Feb 2015, p.108]

[The songs are] played with enough ear-catching acuity to satiate your inner psych-pop gourmand. [Jan 2014, p.126]

Margo Timmins gives haunting, basilisk voice to the songs ... even familiar listeners will be intrigued. [Dec 2011, p. 125]

Squally closer 'The Dome' aside, he has a surprisingly light voice and--especially on the straight country of 'Doreen' and poppy 'The Banquet Styx'--a deft musical touch. [Oct 2008, p.152]

As the exclaimation mark in their name suggests, their every sentiment is exaggerated, but they do do careening anxiety rather well. [Nov 2008, p.110]

There are unnerving, alone-in-the-forest atmospheres aplenty here. [Apr 2014, p.108]

In comparison, the second solo album from Broken Social Scene/Stars vocalist Amy Millan can't help but seem just a little routine. [Jan 2010, p. 126]

The album plays its best cards early. [Aug 2017, p.112]

Distinct high and lows are lacking, the songs blurring like a long night, but Green remains a mistress of her mood. [May 2014, p.110]

It offers some crunchy, very manly rocking, with riffs, choruses, everything. [May 2010, p.126]

Enjoyable, but a gold star or two short of his 1997 masterpiece, Other Songs.

At times rapturous, it's the title track's mix of dub effects and PiL-inspired vocals that grabs the ears most effectively. [Jun 2011, p.107]