So There seems far more a compositional exercise for Folds rather than an album for the wider public. [Oct 2015, p.108]

[An] entertaining tribute to the supreme genius if baroque music. [Oct 2015, p.108]

Worth every second of the wait. [Oct 2015, p.108]

Faith In The Future continues this rich work [of short story narrative in song], but with a new feel of quiet sobriety. [Oct 2015, p.107]

Pleasing though it is, [it] doesn't run too deep. [Sep 2015, p.112]

Stark, speedy, ferocious---all their established calling card are here. [Oct 2015, p.114]

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

Overall this is a record that's as thrillingly dark and overwhelming as anything they've attempted to date. [Oct 2015, p.117]

An innovative and pretty irresistible record. [Oct 2015, p.101]

This second effort duly ushers in a greater sophistication, with near Kinksian observations of the waster mindset, set to a broader musical spread, laced with monster Who-y riffs and tinges of neo-psych. [Oct 2015, p.107]

Music Complete is like good architecture: impressive in scale, the layers precisely pitched and the repetition absorbing. [Oct 2015, p.116]

Crosseyed Heart sounds fantastic and beautifully put together. [Oct 2015, p.110]

Anthems For Doomed Youth has plenty of reminders of why people fell in love with The Libertines in the first place.... For better or worse, the habit of both spinning and dwelling upon their own mythology remains too. [Oct 2015, p.112]

Their 16th LP is their most challenging to date. For all the fine musicianship and vaulting ambition, though, there are lengthy longueurs. [Oct 2015, p.111]

Dark nights of the soul rarely come with soundtracks this compelling. [Oct 2015, p.103]

Their chemistry seeped into the post-punk water table but Pere Ubu still dance alone. [Oct 2015, p.121]

Their pitch-perfect nods to Badfinger, Jimi Hendrix and Big Star come with a timeless quality. [Sep 2015, p.112]

While opener C'est La Vie's French title is as experimental as it gets, there's still plenty to savour. [Oct 2015, p.114]

The results are excellent. [Oct 2015, p.110]

Invite The Light reaffirms that Dam-Funk needn't coast on others' charisma when his music has more than enough of its own. [Oct 2015, p.104]

Core members Jonathan Donahue and Sean "Grasshopper" Mackowiak render sadness in twinkling matinee orchestrations, Central Park East or Coming Up For Air sounding pillowy, expansive, there to cushion a fall. [Oct 2015, p.111]

There's an intriguing musical intelligence operating underneath. [Oct 2015, p.113]

The 11th studio [release] has a brooding familiarity yet is also coolly exhilarating. [Oct 2015, p.111]

It's perhaps not a career peak but it's not too far away. [Oct 2015, p.102]

Condon proves that less can be more. [Oct 2015, p.102]

The hit rate is impressive. [Oct 2015, p.109]

Despite a few missteps her and there, it's good to have them back. [Oct 2015, p.109]

The main impression is of a unique voice still raging. [Oct 2015, p.113]