As ever, it all coalesces around that voice, and its still potent conjuring of beauty and darkness. Timeless music, for heavy times. [Dec 2016, p.34]

The Colourist & Emiliana Torrini draws on the singer's back catalogue, infusing it with added warmth, texture and elegance. [Jan 2017, p.31]

The album never becomes a dry documentary, though, because the music adopts the station’s spirit of dissent and subversion. [Jun 2022, p.31]

"Forever & A Day" sounds suspiciously like a love song, "Sleep On The Wing" has one of those gorgeous Colin Newman vocal performances. Otherwise, it's ominous thrum, insistent rumble and circular tunes that hide menace beneath their logic. [May 2017, p.40]

One of the most coherent and surprising big-ticket pop albums in years. [Apr 2016, p.79]

EarthEE feels both comfortingly familiar and thrillingly alien, without striving too hard to be either. [Mar 2015, p.83]

'Little Ones' is insanely jaunty, like somthing out of "Sesame Street" and one of the most enjoyable songs of the year. The rest of Receivers is equally buoyant. [Dec 20008, p.108]

The band's newfound eagerness for moodier tempos and treatments allows frontman Elias Bender Ronnenfelt to dig deeper into his Gun Club fetish on "under The sun" and make like he's stumbling out of a Kurt Weill musical on "Showtime," a stunning piece of punked-up cabaret. [Jun 2018, p.28]

The combination of vaulting pop glory and damaged, fractured insecurity has seldom been done better since the early days of Sinead O'Connor. [Apr 2009, p.87]

Teeth Dreams is The Hold Steady's least fussy, least mannered, least arch album. Not coincidentally, it's possibility their best. [Apr 2014, p.63]

Wolfe's voice prominent on the shimmering "Hopelessly At Ease" and tremolo-bathed "Shhh", recalling Julee Cruise;s otherworldly work. .... Elsewhere, there's an edge. [Jul 2025, p.27]

Each of the 12 tracks on The Life Of The World To Come is named after the [Bible] verse that informs it. The settings are gloriously apposite. [Nov 2009, p.96]

Strikingly, Stevens' craggy baritone is virtually identical 50 years later; but whereas in 1970 he sounded prematurely aged, hearing him now we can't help but envision that innocent, introspective 22-year-old. [Oct 2020, p.39]

With its smoothing of rough edges, it's likely this record will split opinion, but there's much to admire for those--like its creator--willing to burrow. [May 2004, p.107]

While about as niche as it gets, this is a strangely endearing and subtly beguiling album that does much more than just send you to sleep. [Sep 2024, p.29]

A rare treasure indeed. [Aug 2004, p.101]

It's '80s pop, but not as you know it. [Sep 2014, p.69]

A towering success. [Dec 2016, p.32]

These are new songs that sound like the old songs, the kind you might treasure 'til your vinyl is pockmarked and warped. [Feb 2015, p.86]

The result is pulsating electronic music that draws from the spontaneity and invention of free jazz. [Apr 2019, p.30]

There are points where his relentless utopianism can sound trite. .... But, let’s face it, these are nice flaws to have. In an era where so many of our musical heroes seem to be growing more cantankerous and ill-tempered with age, it comes as a welcome relief to see one heritage act pushing positively into the future – and making some of the warmest and most joyous music of his career. [Review of the Year 2023, p.21]

The Flatlanders exude joy here. [Aug 2021, p.23]

The album closes with a reprise of 'To Ohio'--possibly superfluous given the perfection of the earlier version, but the only marginal misjudgement on an otherwise largely faultless album.

It is the clan's most successful production since 1996's "If You're Feeling Sinister." [Jul 2009, p.88]

While the album is too long, he consistently crafts a fine tune. [Jun 2013, p.78]

Generally, Dumb Flesh is more gleaming and monolithic than ever. [Jun 2015, p.71]

Their fourth album continues in the vein of 2011's Last Night On Earth, divining its inspiration from cool, crisp '80s US new wave, "Every Breath You Take" bass lines, Brat Pack soundtracks and wistful songs about girls. [Jun 2013, p.76]

If Regan's Mercury Prize-nominated debut in 2006 attracted comparisons with Nick Drake, this belated follow-up ditches the finger-picking folksiness for full-on rock, and sees Regan mutate into a latterday Mike Soctt. {Feb 2010, p.96]