A cutting, driving, defiantly hook-happy set (mostly) focused on survival amid America's income-inequality nightmare. [Feb 2015, p.75]

Finn maintains his novelist's eye for detail throughout. [Apr 2017, p.28]

The album works as whole--beginning with an eruptive blast of noise and ending with the gentle farewell that is 'Friend Of Ours.'

It feels in some ways much more of a post-Lambchop album than FLOTUS. [Apr 2019, p.24]

Their elastic moods are endlessly absorbing, typified by the almost weightless "Cernubicua" and the grinding, Malevolent buzz of "Inkstain." [May 2018, p.27]

Impressive stuff. [May 2018, p.30]

What's more surprising is just how good it all is, the tunes great, the mood fun, the album infectious. [Mar 2009, p.92]

Songs such as the languid “Deeper” and the joyous “Stoned Love” are full of spiritual healing, as self-doubt is replaced by a hard-won inner radiance. [Oct 2022, p.32]

The film and its astutely assembled soundtrack didn't just ride grunge's momentum, it pumped up the volume by capturing the scene in context. [Jun 2017, p.51]

Elliott is better at world-weariness than he is at sass, but has enough guile to mould the songs in his own image.

Like Felt Before them, The Clientele have completed a commercially neglected yet conceptually immaculate decade, mapping, across four albums and a couple of compilations, a twilit suburb of English pop, as though a young TS Eliot had fronted The Zombies. [Jan 2010, p. 105]

An unmissable craftman. [Jun 2013, p.69]

A rich, nuanced, fantastically enjoyable album that understands great music is often the product of a historical continuum rather than radical innovation, and which saves its best trick 'til last. [Aug 2015, p.82]

The greatest interest lies in the lyrics--intriguing, charming, highly insightful and sometimes violently confessional, often on a par with the very best of Elliott Smith. [Dec 2003, p.118]

Raven is her triumphant move forward, 15 tracks of sensual R&B with a subtle strength at their core, wrapped in vaporous synths and variously edged with UK garage, '80s R&B and techno. [Mar 2023, p.29]

Six albums on and Luna have never sounded better. [Jul 2002, p.112]

Snider's self-effacing charm radiant through the murk of "Stoner Yodel #2", the Chris Robinson co0write "While We Still Have A Chance" and the closing "The Temptation To Exist". [Dec 2025, p.36]

This is full-bodied, tuneful and surprisingly friendly, with vocalist Kuperus toning down the swivel-eyed hysteria for some Siouxsie-styled elegance. [Aug 2013, p.65]

Luminously beautiful music. [Apr 2005, p.106]

An album which has nothing to do with 2005 and everything to do with 1988. [Mar 2005, p.109]

An irresistible set. [Sep 2013, p.97]

The universal motifs of loss, redemption and freedom from bondage are brought home in moving, understated style. [Oct 2017, p.28]

The voice is all Gainsbourg. [Dec 2017, p.27]

Feels freshly ironic and original. [Apr 2006, p.98]

Rather than a departure from the zig-zag folktronica of The Beta Band, [it is] more an incremental shift in oddness. [Jun 2006, p.105]

Georgia's also able to fuse a few different eras of electro-pop to create songs whose high sheen doesn't impede their intimacy or immediacy. [Sep 2023, p.27]

It is noticeably better – cleaner, heavier, less muddy and filled with audacious surprises on headphones. Yet there’s no disguising the curiously wayward nature of these compositions. .... The full, six-disc boxset is an impressive package, drawing together vocal-less backing tracks, scrappy but revealing early demos and some superb 1973 BBC sessions. [Dec 2024, p.53]

Reassessing the past and reengaging with the present, Revival lives up to its name.