Smith's heartfelt songs take on a more melancholic hue. [Jul 2012, p.70]

Terrific stuff. [Aug 2002, p.122]

With its innocently poignant synth melodies and fragile guitar arpeggios, You Win Again Gravity is redolent of the flashes of true beauty that the style's original practitioners sought back in the glory days. [Dec 2002, p.151]

The fact this collection of originals is inferior to 2001's Ultraglide In Black (a covers album) reveals [Mick Collins'] songwriting has never matched his energy. [Nov 2003, p.118]

Poppily uplifting, Us is an album with drowning depths. [Apr 2003, p.114]

Addresses the stained beauty of all things LA via psychedelic washes of keys, honking sax and country stomp. [May 2004, p.100]

A collection of cobwebbed country and chamber-pop spiked with dark wit, it peaks with "Flirted With You All My Life", a dialogue with the reaper that Chesnutt handles with impressive dignity. [Nov 2009, p. 83]

Her aching voice is more lived in than her years suggest. [Jul 2011, p.92]

Both fierce and mellow, this is smooth-jazz with an alluringly punky heart. [Sep 2011, p.96]

Fletcher's three-chord trick comes up trumps once more, every sha-la-la-la, every woah-woah. [Nov 2012, p.85]

Life & Times is a winning showcase of their uptempo moods. [Jan 2013, p.77]

Occasionally things get somewhat overcooked into Del Ray-ish melodrama. The More understated moments--"Fool" and "All Of Me"--are beautiful, slow-burning torch songs. [May 2013, p.68]

Hardy's voice is considerably less breathy than in her '60s and '70s heyday, though it now has a pleasing steeliness to it. [May 2013, p.72]

At times it recalls the hyper-vivid, motorik jazz of Stereolab circa Cobra And Phases; elsewhere, it's closer to Tropicalia given a 21st-Century re-boot. But the very best songs here incorporate everything, unexpectedly changing shade. [Nov 2013, p.75]

The joy is in how much of it there is to listen to, with constant change in tempo, instrument and texture that manage to maintain an overall coherence while keeping everybody from getting bored. [May 2014, p.79]

It's all gracefully wrought. [Jul 2014, p.73]

As ever, there's great appeal in his stage patter, where he tests the tension between catharsis and awkwardness.... But he never skimps on emotion. [Sep 2014, p.74]

The addition of bassist Bi;ll Herzog lends Earth a gnarliness absent in recent folk-inflected outings. [Oct 2014, p.71]

Ben Glover makes his fifth album a bringing-it-all-back-home beauty. [Oct 2014, p.73]

Chubbed Up+ feels like a bit of a stopgap between this year's Divide And Exit and a new album scheduled for early next year, but it nonetheless has much to recommend it. [Jan 2015, p.92]

Magazine 13 flits between Art OF Noise preset chintz, serene Vangelis miniatures and serrated Knife-like techno primitivism with such aplomb that it's tempting to view this as either a very good inside joke or striking outsider art. [Jan 2015, p.67]

Some of these pieces are more like performance art works than songs. [Feb 2015, p.83]

It may be their best yet. [May 2015, p.71]

Tightly wound--easygoing but uptight; the work of a man still striving for a modest kind of perfection. And--not for the first time--with Still he has almost achieved it. [Jul 2015, p.65]

Throughout All tense Now Lax the trio engage in a deep sensory confusion, with pieces appearing and then disappearing as though you're fleetingly tuning in on their wavelength, divining a moment from endless, shrouded recording sessions. [Sep 2015, p.76]

He's an engaging singer-songwriter whose instinctive, winning wryness takes the edge off some occasionally ruggedly confessional material. [Apr 2016, p.69]

The retro musical mood on Happy Rabbit fits the lyrical tone. [Jan 2017, p.24]

Little Fictions is the sound of a band doing what it's always done, and doing it with style. [Mar 2017, p.28]