There's antique gusto, politics, wintry picking from a master, some gothic touches from Britfolk's finest fiddler, and grand notes. [Jul 2014, p.71]

Their head conceptualist is now guitarist Helios Creed, who's kept the vision tight, true to the corroded metal, viscous electronics and Burroughsian collages of their signal albums, 1977's Alien Soundtracks and 1979's Half Machine Lip Moves. [Sep 2014, p.71]

Blessed by an amiably husky voice, Jurvanen unfurls elegant melodies and intelligent economical arrangements. [Sep 2014, p.67]

The impressive Alternative Light Source sees Barnes picking up, with a snarl, where the pair left off. [Jul 2015, p.78]

L'Aurore finds Cedric Benyoucef and Charlie Boyer pursuing a rawer, more improvisatory approach than on albums prior. ... Actual songcraft can take a back seat, though. [Apr 2016, p.82]

It's addictive, delirious and madcap, Martha turning anxiety into exuberance. [Aug 2016, p.78]

There's still a preponderance of fuzzy guitars--notably on "Ching," where they almost overwhelm Lorena Quintanilla's vocals--but elsewhere, as on "It Must Be The Only Way," her dreamy vocals provide a welcome contrast to droning guitars. [Oct 2016, p.32]

Following much beauty and polymorphous perversity, the climactic take on Histoire De Melody Nelson's "Cargo Cult" is a fittingly epic finale. [Dec 2016, p.30]

This fourth album is his most satisfying yet. [Feb 2017, p.28]

Bowlcut romantics will swoon for twinkly samba "Saveoursmiles" and "Love Me 'Til My Heart Stops" on his 10th LP, but as wistfulness gives way to despondency on "Rust" and an anguished take on West Side Story's "Somewhere," Stewart's idiosyncratic path feels like an increasingly lonely one. [Jul 2017, p.25]

There are occasional moments of poppy levity, like the energetic "Feel Like I Wanna Stay," but otherwise this has an impressive heft. [Sep 2017, p.26]

The conventional sound palette leads to a number of fragrant compositions, which will do Actress' cold, hard image no good at all. [Jul 2018, p.23]

Succeeds in painting atmospheric images, with elliptical poetry set against dreamy FX-laden guitars, twinkly pianos and jagged beats. [Mar 2020, p.30]

This is unabashed bar room vibes with a healthy side order of redneck grit. [Mar 2020, p.25]

The band's most orchestral album yet. [Jan 2021, p.25]

fter the snarling insensitivity that once defined The Stranglers, it’s reflective and poignant. Even if you strip away the late touches acknowledging Greenfield’s loss, the mood is suddenly grave and inevitably valedictory. [Oct 2021, p.20]

The faithful arrangements deprive the collection of any real edge – "Elle Et Moi" should be sexier – but this is not the place for surprises. [Dec 2021, p.25]

He sings the gospel with everything pared back to its essence: a flinty guitar tone, that surprisingly recalls the chipped, clanking tones of Pip Proud or Mayo Thompson; a throaty, gorgeous voice; beautiful, soul-informed backing, only when it’s needed. [May 2022, p.24]

Though some tracks really need the context of performance or visuals, on the astral fourth-world funk of “Eye In The Wall”, Hadreas sets sail on his own Arthur Russell-style “African Night Flight”. [Jul 2022, p.31]

It's the more emotional moments which prove The Damned's undimmed commitment. [May 2023, p.28]

It's sunny and optimistic and mostly dynamic (sans a few sleepy, repetitive moments on the six-minute-plus tracks). [May 2023, p.35]

An album that has moments of shiny, hooky, electro-disco-pop as well as moments of more reserved melancholy. [Review of the Year 2023, p.30]

Organic set of gorgeously gilded songs which English folk sensibility mixes with the freewheeling spirit of Californian Canyon rock. [Mar 2024, p.35]

At times they sound as if they are seeking to recreate The Clash, before suddenly erupting into jagged film-score strings (“Blue Kite”). [Aug 2024, p.32]

The 11 songs form a pensive biography of sorts, though perhaps only intermittently about Sid himself. [Nov 2024, p.37]

Awash with Crosby, Stills & Nash chemistry, 12-string trills and the Joni-inspired "Seemed She Always Knew". [Apr 2025, p.28]

If his guitar reminds of anyone, it's David Grubbs - similar threads of notes that then tangle together into thickets - and Grubbs appears on this album, too. [Jun 2025, p.41]

The sparse strum of "Easy For You To Say" eavesdrops on a troubled couple, a fear of romantic failure permeates the otherwise upbeat jangle of "Rose Town", and the country pop "When Will The Morning Cone" craves light at the end of a dark emotional tunnel. [Sep 2025, p.37]