Lead guitarist Sean Thompson displays precocious virtuosity through For Use And Delight, spinning out bent-note filigrees that recall the work of his legendary namesake. [Nov 2015, p.81]

A surprising mutation, for anyone familiar with Dwyer at full-tilt, but Memory Of A Cut Off Head proves his magic straddles genres. [Dec 2017, p.30]

She comes over like Tammy Wynette crossed with Parker Posey--an indie queen with a Kentucky twang. [Aug 2006, p.101]

The fuzz-furred riffs of “Edin” and “Sicarus” are infectiously sharp, backed up by satisfyingly heavy rhythmic ballast, and Corgan’s voice, often underrated, is stronger since the strangulated edges loosened with age. [Review of the Year 2024, p.35]

[Herrema's] songs still have the fuzzy weirdness of prime Trux, but now they're chunky, determined and fully formed, too. [Apr 2007, p.115]

With what Garba Toure terms their Afro-rock'n'roll dialled down, Paul Chandler and the band's co-production deploys their epic cast as distinct elements in ultimately communal music. The studio sounds packed yet with sufficient space for individual contribution. [Feb 2025, p.38]

Tiersen now explores their middle ground without any hint of compromise. ... All ends well. [Mar 2019, p.37]

It's a cinematic experience that reaches a peak on the immense finale of "Ugly And Vengeful." [Apr 2018, p.37]

He's delivered 12 songs of poignant autobiography rather than nostalgic wallowing. [Mar 2024, p.41]

The mood flickers between foreboding and playful; blues for modern times. [Jan 2012, p. 93]

All elements are delivered with an easy, effortless roll--you suspect The Donkeys may turn out to be lions. [Oct 2008, p.83]

The band showcase their wide range on this imaginative and timely covers album. [Aug 2021, p.29]

Nothing Special draws back from Okkervil River's giddy pop whirls in favour of beautiful, ruminative, Lambchop-ish ballads which, while lengthy, never outstay their welcome. [Nov 2022, p.36]

Rose said she wanted to make an album that reflects the oscillating extremes of her personality--Loner is that and much more. [Jul 2018, p.34]

Their music is accruing more bewitching, dramatic layers. [Jul 2016, p.71]

jj No. 3 is an irresistibly light-headed trip through lush, electronic pop. [Jun 2010, p.91]

As peculiar as "The Doll" and "Blue Tits" are, at heart this is thrilling, possibly visionary pop. [Nov 2021, p.25]

These are distressed, in-limbo songs. Their unlikely latter-day alliance with Dave Fridmann adds poignantly lavish flourishes and echoing space-age keyboards to the dead-end punk tattoo of “I Don’t Fucking Know What I’m Gunna Do” and monotone monologue and suffocating synths of “Nothing/Everything”. [Jul 2024, p.35]

These elegant, cosmic soul-jazz excursions are a fine fit for Sumney's extraordinary voice. [Oct 2017, p.40]

An uniformly compelling set. [Nov 2019, p.27]

Distinguished by the forceful, deeply personal flows of Roots' MC Black thought, their fourth takes on hip-hop jazz tone, leavening their somewhat overly tasteful retroism without ditching its widescreen pleasure. [May 2023, p.28]

All A Man Should Do is a thing of considerable depth and sensitivity. [Nov 2015, p.79]

[A] rich and understated debut brimming with wisdom and heart. [Nov 2015, p.79]

[Alex G] already shows a masterful handling of mischievous lyrics and beautiful melodies. [Dec 2014, p.69]

Even by his prolific standards, Sojourner is impressive. [Oct 2007, p.99]

Fourth album time for Turin Brakes, and practice is edging the duo closer to perfection. [Oct 2007, p.113]

Their full debut is more "pop," if you stretch the definition to lovely multi-vocal interplay, grooves that stay convoluted but move their asses, and songs with hooks and momentum. [Nov 2010, p.93]

The enigmatic ensemble head out on taut, Teutonic disco manoeuvres on "Dancing In Transit" before making like a feral 808 State as they imagine Raoul Duke and Don Quixote in conversation on "Raoul". [Apr 2025, p.35]