This second album by Minneapolis trio Night Moves was worth the wait. [May 2016, p.78]

There's nothing insubstantial about this fabulous comeback. [May 2013, p.68]

Clever and thrilling in equal measure. [Jul 2019, p.30]

Invigorating results. [Oct 2021, p.27]

Anhedönia's gifts for storytelling - part Flannery O'Connor, part David Lynch - are compelling enough, but the music is equally stunning, a mix of shoegaze, gothic country and doom metal. [Sep 2025, p.29]

Teen Dream finds the duo resolving to present their songs in somewhat firmer strokes. Nothing rocks, exactly, but organs coo in sharper focus, drum machines bear with added vigour, and an eerie disquiet occasionally linger. [Feb 2009, p.79]

The stand-out, though, is the epic "The Little Death (In Five Parts)" which mixes AC/DC pyrotechnics with a sexually charged rhythm section. [May 2011, p.80]

Panoramic, synthetically symphonic and a lot of fun. [Jul 2015, p.77]

In Conflict feels starkly personal. [Jul 2014, p.77]

Sounds like the product of a sloppy but inspired band enjoying the straightforward art of making a noise. [Jun 2002, p.114]

Thrillingly heavy and direct it may be, but there are great tunes here. [Jul 2014, p.77]

Anyone who's enjoyed a fruitful encounter with Ariel Pink's home-recorded oeuvre should also find plenty to love about John Maus. [Jul 2011, p.91]

The underlying sense given off by the LP's inventive chord changes, soaring melodies, eloquent language and silky vocals--notably on the rhapsodic "Semaphore" and "Flight"--is that of a 21st century Joni Mitchell. [Oct 2016, p.31]

Stelmanis using her hurt as fuel for a series of sleekly designed tracks that alternate between surging, propulsive pieces of dancefloor-ready catharsis and more delicate yet still dramatic passages that emphasise the most crystalline properties of Stelmanis' voice. [Review of the Year 2025, p.21]

Surviving on the present, these songs infer, may be hard. To process this, he uses expansive, hypnotic arrangements: winding guitars, jazzy undertones, sturdy melodies sent into the ether. [Jan 2021, p.23]

A records that spurts gloriously in all directions. [Oct 2013, p.65]

Magnificent. [Nov 2011, p.84]

The backing is beautifully understated but it's Becky Stark's pure, unaffected folksy sigh that's a thoroughly comforting presence throughout. [Dec 2012, p.73]

Mering's atmospheric second album is a masterclass in spooked melancholia, clothing her cool Nico-esque vibrato in spine-shivering folk-noir arrangements. [Nov 2014, p.84]

The final 25-minute-long “Fünf” is most thrilling, revealing what “Animal Waves” could have been had they not been drifting in different directions in the studio. [Dec 2024, p.47]

The girls have made a gorgeously restrained full-length debut that intimates both youthfulness in its most innocent state and startling self-awareness. [Nov 2013, p.74]

Primal yet precise, these obliques beats and blocky grooves loom out of the lush ambient foliage like the crown of a Mayan temple in the Yucatan jungle. [Dec 2011, p.87]

There's a spiritual quality to these streams-of-conscious compositions, which sound open-ended as though she's posing questions to the woods around her. [Feb 2019, p.34]

Bock’s solo work takes a subtler but no less arresting approach, weaving in melodic passages for strings, organ and woodwind and rhythmic calls to her Brazilian heritage in ways that only fully reveal themselves with repeated listens. [Aug 2022, p.25]

The lack of ironic twists is both slightly unsettling and hugely refreshing. [Apr 2016, p.83]

A delicious pathos has sustained Jurado through seven albums. It's still intact but it's just possible to detect a lightning of his mood around rthe edges. [Nov 2008, p.105]

Unvarnished and unpredictable, then, but in the grand Slits/Raincoats tradition, Nash is no-one's little girl. [Apr 2013, p.74]

Now We Can See feels a sunnier listen, bracing indie-rock with few frills but a joyfully juvenile energy and choruses to spare. [Jun 2009, p.103]