Feels like a peculiar reprise of [2007's Tromatic Reflexxions]. [Mar 2020, p.35]

Four vignettes offer reminders of Brian Eno's early ambient outings. ... But the slower evolution of three longer pieces, which nonetheless maintain this aesthetic, make them more potent. [Mar 2021, p.37]

They immediately settle back into a familiar dynamic on the aptly titled opener “Let’s Do It Again”, with the band providing a lively and sympathetic soundtrack to Cartwright’s tale of loneliness and longing. They’ve learned more than a few new tricks over the years, as evidenced on the lovely psychedelic chamber-pop saga “Just Say When”, a duet with Coco Hames. [Jun 2021, p.31]

It sometimes feels here like Perry's slight contributions are being stretched a little thinly. [Dec 2021, p.31]

While not quite hitting the heights of the recent Donuts LP, it again proves his brilliant nose for hip hop's pleasure points. [Oct 2006, p.123]

On this sometimes obstinate, sometimes sublime record, Stevens shows he contains multitudes. [Nov 2020, p.24]

Like Disney on methadone scored by Jack Nitzsche with a gun against his own head, trying to remember this soundtrack he once wanted to make, which teamed Judy Garland and Neil Young. [Album Of The Month] [Sept 2001, p.86]

Electric guitars squall in the climax of "Gonna Be Good," setting up the cinematic strings of "Someone New." Thereafter, however, the muted acoustic arrangements convey little of the poignancy contained in Kelly's lyrics. [Feb 2013, p.74]

Anderson's voice keeps songs like "Smoulder" feeling raw and human. [May 2014, p.73]

The rest of Mount The Air is tentative by comparison [to "Magpie"]; stylish, and extremely skillful, but a bit too much arr and not enough trad. [Mar 2015, p.68]

[A] neoclassical treat. [May 2015, p.78]

Brimming with visceral rock'n'soul that channels the spirit of The Replacements, The E Street Band and Alabama Shakes, and mixes them into an irresistibly tasty gumbo. [Jan 2016, p.77]

If you've ever swooned for the fading-light pastorals of Billie Ray Martin's 4 Ambient Tales, or the elliptical whispers of Stina Nordenstam, this album will feel very comfortable indeed. [Jan 2025, p.40]

A compellingly weird experience. [Jul 2007, p.92]

River is deeply embedded in a historical continuum. [Jun 2015, p.71]

Intimacy is still her trump card. [Dec 2021, p.26]

The Crying Light shows Antony boldly, indefatigably following his own eccentric star.

Those who like a little light and humour in their rock--or, indeed, an acknowledgement of the last 25 years of popular music--may find themselves unmoved. [Jan 2015, p.78]

Sahel Folk pushes no boundaries, but it's a charming, lo-fi set from northern Mali, delivered by a man who has been a quiet force for some years. [Feb 2011, p.103]

[A] remarkably wise and timely album. [Mar 2017, p.18]

The wry, heartfelt "Cash Up" and truly touching "Amberjack" are highlights; that he exits on the breezy, sardonic bonus track "Juliefuckingette" is a reminder, though, that yes, it's still Malkmus. [Apr 2020, p.30]

Rickety in construction, it holds up as a work of single-minded, lunatic conviction. [Aug 2013, p.61]

It's a credible step back into the ring after years on the ropes. [Apr 2013, p.66]

Murdering Oscar is all about connecting with the past, as Hood cuts loose with old and new bandmates, crafting tender paeans to his new wife and daughter, dusting down childhood memories against a backdrop of roughhouse blues, swamp-country and slow Southern soul.

He's a great country singer, armed with the sardonic humour of Todd Snider and the loping grace of Waylon Jennings. [Sep 2014, p.70]

Mostly the album's best songs are simple, contemplative and poignant. [Apr 2018, p.36]

The covers aren't impersonations. [Apr 2019, p.28]

Clear, uncluttered, minimally adorned, it works in different measures to the usual. [Oct 2023, p.31]