It's the interplay of textures and surfaces that facinates, only faltering on the choice of guest vocalists. [Jun 2010, p.120]

At their worst, Pearl Jam witter on pointlessly.... When Pearl Jam gel, though, it's close to special.

Theyesandeye articulates a positive, only slightly idealised ecosphere of the sea, birds and vegetation. [Sep 2016, p.111]

It acts as a skilled and timely reminder of his own uniquely vulnerable vision as a songwriter. [Oct 2015, p.102]

Ambient meditations and busy electro picaresques like Glow Hole add variety to a record that doesn't exactly reinvent the wheel but at least paints it in bizarre colours. [Oct 3012, p.98]

Drifting, dreamy and at times, driving, it's further proof of the Swede's eclecticism. [Oct 2011, p.120]

This is ultimately comfortable listening, befitting folk sounds of a resolutely un-freak variety. [Oct 2012, p.96]

If the songs themselves sometimes seem to float by without fully grabbing the attention, when the melodies rise above the textures, as in The Blue Nile-style ache of Send Me Home, Lanterns On The Lake give us a glimpse of what might make them truly special. [Dec 2015, p.109]

Avonmore doesn't quite match 2010's fine comeback solo album, Olympia. [Jan 2015, p.125]

Holly Ross and David Blackwell's heaviest record in years. [Apr 2018, p.111]

The production is pitched halfway twixt Adele and Bastille, and All I need feels like the album that will kick Foxes up from the second tier to the A-lists and playlists. [Mar 2016, p.110]

She makes the most with what she's got, along with a decent strike rate for pulling radio-friendly hooks out of the hat. [Sep 2010, p.122]

They run short on tunes during the album's second half, but by powering through 10 songs in 33 minutes they at least opt to burn-out rather than fade away. [Oct 2013, p.110]

While accepting that his odd but beguiling hybrid of rap, country, folk, and Butthole Surfers/Tom Waits-weirdness will never eclipse 1998's platinum "Whitey Ford Sings The Blues" he's injected impetus into what threatened to become a stale formula. [Oct 2008, p.142]

The jarring throb of HIQS aside, it's an album of subtle charm that rewards repeated listening. [Mar 2013, p.95]

Music of the mid-00s is undergoing a revival. London-based Sports Team are the fresh case. [Jun 2020, p.107]

Clocking in at a shade over tow hours, there's room for fans of all vintages to find something of value. [Apr 2013, p.94]

Graffiti On The Train is a powerful attempt to drop their meat-and-potatoes image. It doesn't always work, but it's to be applauded. [Apr 2013, p.110]

Post-industrial punk with little to smile about. [Aug 2004, p.110]

A tasteful and delicate record--but one that not quite as much fun as it first seems. [Aug 2018, p.116]

These are genuinely moving, but a change in pace wouldn't have gone amiss. [Oct 2012, p.98]

An LP that, on balance, really is just for Christmas. [Jan 2018, p.113]

Mostly Strapped is unified by a fuggy atmosphere, likeably odd guitar details and some immediate choruses. [Nov 2012, p.105]

It could have been full steam ahead here, but Pure Mood instead chugs forward gently. [Jan 2016, p.112]

Whether Faust is actually music has been debated since their 1971 debut, but whichever side you take, it's brilliant to have Peron and Diermaier still asking the question. [Jan 2015, p.125]

It's business as usual rather than a breakthrough. [Nov 2007, p.138]

Without scaling any great heights, it's a sweetly engaging mix of lo-fi indie-rock and '60s girl group innocence. [Sep 2010, p.122]

A hit-and-miss affair that sporadically hints at what the man is capable of. [Oct 2013, p.111]