A natural follow-up to his first solo outing. [#229, p.68]

This is a dark night of the soul record, a distant country cousin of Young's Tonight's The Night, but it feels flooded with light and air and space. [#232, p.73]

A fastidiously crafted and appealingly damp hour of digital earthsong. [#229, p.57]

Callaghan has served up an album that, interestingly for his fractured vocals and streaming lyrics, is unusually coherent. [#230, p.61]

It's an uneven set, relying strongly on her performance to carry the songs forward. [#229, p.68]

If Lightning Bolt works best live, Wonderful Rainbow loses nothing of the duo's spontaneous wallop. [#230, p.56]

It may lack subtlety but it sounds incredibly vital. [#229, p.68]

An engaging, unpredictable album of Tortoise-like vibraphones, guitars, minimalist repetitions, wry syncopations, occasional duff notes and subtly daubed electronics. [#228, p.69]

All the sharp, cold ridges of the usual electronic sound palette are sheared off and smoothed down on this beguilingly gentle release. [#228, p.65]

Downhome and earthy, cut through with sensitivity and intelligence. [#229, p.58]

Overall you sense that the full potential of the encounter is not being realised. [#230, p.61]

Combining tight dynamics with the blurred intent of an impressionistic backwsh, some tracks rush by like vast landscapes, with individual features suddenly highlighted in freeze-frames. [#228, p.59]

What the album lacks in innovation, it more than makes up for with its sheer edginess. [#228, p.59]

It's all elegantly executed and often beguiling, but just too clean and predictable to be really involving. [#228, p.62]

There's little to set the sombre half-tones of the Cave and Seed world alight with suspicous glimmers. [#228, p.59]

It might sound unbearably contrived, but the combination of crystalline guitar, sly time signatures and Kinsella's stream of consciousness lyrical musings makes for an unexpectedly coherent whole. [#229, p.68]

A pleasant if somewhat plain folk-rock record, less adventurous than either Wilco's or O'Rourke's own recent outings. [#227, p.68]

A rewarding and self-consciously motley fest. [#227, p.60]

Every knot has been planed away. It's hushed, wistful, 'cool,' acoustic, sweetly dolorous and subtly well crafted... and dull as corrective footnotes in a treatise on ditchwater. [#228, p.54]

Brokeback's airier tendencies are always balanced against the hint of depth and punchiness behind the twin basses, and the bittersweet, reflective quality of the melodic lines. [#228, p.57]

It's surely his finest recorded hour to date. [#230, p.61]

The production is so delicate and the arrangements so well crafted that you can't help being utterly seduced by this open-ended, non-narrative yet elegant and accessible pop music. [#227, p.71]

"Miss Lucifer"... [is] the first of many tracks on Evil Heat that cross rock 'n' roll and electro, only to get Sigue Sigue Sputnik. [#223, p.61]

It lacks something crucial at its centre: definition, precisely. [#221, p.66]

You are reminded that yes, this has all been done before, but Out Hud get by with the wistful innocence of well-intentioned brainiacs. [#225, p.71]

It's on tracks like the ethereal, 15 minute "Oh Shadie" where the group's acid washed sound really takes off. [#232, p.74]

More substantial, positive and dynamic. [#225, p.58]

Possibly their best.... Brave, bleak yet compassionate. [#225, p.77]