Trail Of Dead have always made music to get lost in and this one's a maze. [Mar 2020, p.23]

It feels as if she now trusts the power of her music to imbue even cliche with emotional power. [Jun 2018, p.29]

Nothing US wrong reminds you of early Jackson Browne or Jimmy Webb, albeit with a tougher, rootsier swagger. And it's a worthy addition to that fine Californian bloodline. [Sep 2011, p.94]

The most emotionally mature and fully realised work Gillespie has delivered in years, laying grainy, soulful, impassioned vocals over sumptuously old-school chansons clothed in vintage orchestral country-rock arrangements. [Aug 2021, p.27]

His eighth solo album is a fine place to start investigations of this dappled terrain, in laces a little heavier and more psychedelic than one might expect. [Sep 2014, p.74]

White-knuckle anthemicism is order of the day, and vocalist Elias Bender Ronnenfelt seem to gave grown into his skin. [Mar 2013, p.73]

The predominantly instrumental Hundred Of Days is a more expansive affair than 2016's At The Dam. [Jun 2018, p.30]

For Mnestic Pressure, his first for Hyperdub, Gamble again draws on themes of memory and perception to inform his shapeshifting arrangements, which curdle and collapse with familiar irregularity but don't necessarily build on past achievements. [Oct 2017, p.28]

Entirely self-written and beautifully realised, Americana is a deeply satisfying reminder that Davies remains a songwriter with a huge reach, but few equals. [Jun 2017, p.29]

This is a strong debut throughout. [Aug 2020, p.27]

It's impeccably crafted, with Mitchell and Johnson's radiant harmonies to the fore over arrangements that sometime evoke the bittersweet bliss of Fleetwood Mac ot turn-of-the-70s Grateful Dead. [Nov 2022, p.26]

Fair play to Jones, He's a trier. [Sep 2010, p.96]

For this fifth album, she changes tack again, gaining in clarity what she loses in originality. [Aug 2011, p.94]

Ideas fly out of Collector at a dizzying pace. [Apr 2020, p.27]

This is the challenging, take-no-prisoners result, an audacious fusion of the reliable and the experimental, as daniel and Eno continue into the new decade a musical conversation as lively and uncompromising as that of Jack and Meg White. [Feb 2010, p.99]

A flawed masterpiece that infuriates as often as it dazzles. [Jul 2019, p.28]

It's the raw-cut trinity of JB, Otis and Solomon Burke that informs this album. ... Expect delights throughout. [May 2016, p.69]

Here she uses soft synths to emulate an organ, lute and pipes, which combine on the likes of “Vanity” and “Qasmuna (Dreaming)” to cast an alluring spell, evoking the likes of vintage Boards Of Canada and Catarina Barbieri’s superb Ecstatic Computation. [Jul 2021, p.21]

“Hello, Hi” is one of Ty’s most lean and focused albums to date. But the closer you get, the more you spot its idiosyncrasies. Heartfelt and playful, homespun and surreal, down in the dumps and head-over-heels in love: here is Ty Segall in all his wonderful contradictions. [Aug 2022, p.18]

Nothing is a strong as 'Hey Lloyd...' and Traceyanne Campbell's lachrymose croon is struggling to find new melodies, but on tracks like 'French Navy' and 'Honey In The Sun,' CO remain heartbreakingly lucid. [May 2009, p.80]

It's the skeletal accompaniment that lends the sound real brawn--primitive and intuitive, yet sophisticated at the same time. [Jun 2009, p.113]

Delivered with conviction and defiance these timely tunes benefit from the input of longtime pal and collaborator Rod Picott. [Jul 2013, p.72]

With each track developing at an imperceptible pace, this is subtle but irresistibly compelling. [Nov 2013, p.69]

The Golden Age is the real thing. [Feb 2008, p.72]

"Bellevue Bridge Club" lands somewhere between Van Morrison, Richie Havens and--if only thanks to his violin's drones--The Velvet Underground, while "Manifest" is like a sober Townes Van Zandt. [May 2019, p.24]

Packed with brilliant, bohemian songs that combine affecting lyrical honesty, beguiling melodies and a voice that has a touch of Alanis Morissette. [May 2005, p.96]

The Voices are usually disembodied munchkin bables which flutter appealingly around the mix, but sometimes Stumbleine makes proper songs. [Jan 2013, p.82]

The results are fascinating. [Feb 2015, p.78]