Their best and most cohesive album since 1999's "Vertigo." [Mar 2010, p.111]

When backing singer Becky Jacob's voice is brought tot he fore, it wraps around Linday's like a warm hug, leaving you feeling that Tunng are the band you'd most like to watch sunrise over the stone circle with. [Apr 2010, p.114]

There's nothing here that hasn't been heard before from countless others, but it's put together with impeccable taste and--importantly--a skilled ear for a tune. [May 2010, p.118]

Even at their most acerbic or delicately downplayed extremes, Incubus are compelling. [#184, p.137]

A more mature mix of intelligent guitar tunes and acoustic noodling. [Oct 2002, p.113]

Get To Leave and Paradise Here Abouts unite Gelb's notoriously scattered logic into music showcasing an immense generosity of spirit and poetic warmth. [May 2006, p.124]

The xx are too smart to get caught in that trap, extending past glories rather than copying them, finding new places for the spotlight to fall. [Mar 2017, p.109]

It's all good, clean, Beatles fun, on a record that celebrates a heart-warmingly more romantic and innocent age. [Dec 2013, p.118]

The Five Ghosts deserves to chaperone them to greater things. [Sep 2010, p.121]

Elbow have hardly stepped out of their comfort zone here, but then their comfort zone has always been oddly unsettling. They're still burning: slowly, maybe, but stronger than ever. [Apr 2008, p.114]

Her songs are challenging, expansive and cinematic, turning minimalist melodies on their heads and redefining the limits of pop. [Oct 2013, p.103]

A true leap forward for an artist maybe only just coming into his own after 25 years. [Jul 2019, p.110]

Whether they can carry with them a rebirth of indie as characterized by debuts by Suede, The Strokes or Arctic Monkeys before them remains to be seen. But there's more than enough here to justify their talk-of-the-town status. [Apr 2011, p.96]

Comfortably their finest outing since 1982's Forever Now. [Sep 2020, p.113]

An effortless melding of Stones and Family Stone, Curtis Mayfield and computers, all topped off with Tim Burgess's fetching new falsetto.... With every track a winner, Wonderland is a truly thing of wonder.

Storm Corrosion deserve to reach a wider audience than their CV, record collections - or suspect band name- would imply. [Jun 2012, p.112]

There's something transcendent about the former hardcore kid and the musicians he assembles for Hiss Golden Messenger, this time featuring Aaron Dessner of The National and Jenny Lewis. [Oct 2019, p.106]

A dazzling alloy of vintage progressive jazz and synthetic digital funk fired by unashamedly cosmic aspiration. [Aug 2013, p.106]

Trux obsessives will be drawn to Eve's Child--a nod to her old production alter-ego--but it's the sense of Herrema shaking off her troubled past which impresses. [Aug 2014, p.103]

Earthly's songs of early-20-something kicks and empowerment prove enduringly infectious over repeated listens. [Dec 2016, p.113]

There's a little more in the mix here [than in her solo debut album], dabs of lap steel on Babylon and elsewhere, gentle harp flourishes on Song For Next Summer, but this is barely less lovely than its predecessor. [Nov. 2011, p. 127]

A quietly beautiful record. [Dec 2012, p.105]

Like quicksand, it's subtle, surprising and utterly absorbing. [Oct 2007, p.98]

This is easily is best work to date. [Oct 2013, p.104]

Cox's great virtue is that he wears his experimentation lightly; though meticulously orchestrated and teeming with digital feints, these songs feel wonderfully spacious and derive an easy-going charm from his hazy vocals and their one-take recording. [Jan 2010, p. 117]

The latest outing re-establishes them as sculptors of heavy-but-humourous CD-length aural odysseys. [Summer 2018, p.113]

The trajectory remains far-out, each track a space station on Deradoorian's exhilarating trip. [Jul 2020, p.106]

While this falls short of the momentous A Few Small Repairs, it's still something to treasure.