The late '60s and early '70s serve as the band's natural milieu. [Aug 2020, p.39]

It begins with Michael Stipe's stunning interpretation of "Sunday Morning." ... The tracks that fly highest here are in fact the least faithful, more subversive. [Oct 2021, p.22]

From the creeping “Let That Sink In” to growling “Warpaint”, Sage Motel is super stuff: check in at your earliest convenience. [Jun 2022, p.31]

Loving You is a poignant last statement, rich with nuance and personality. [Sep 2023, p.34]

"The Outer Region Of The Universe" is an appealing ambient workout, while "Co-Pilot" is an ever-mutating bossa nova. [May 2025, p.87]

Marked by lovely, unobtrusive backing by various Lambchop alumni, the overriding impression is of Wagner and Tidwell serving the songs rather than playing out lingering Conway & Loretta Fetish. [Nov 2010, p.92]

Though Abyss' quieter moments are plenty chilling,m Wolfe's brand of anguish best suceeds when she's out to do serious damage. [Sep 2015, p.83]

It's all certainly a lot more complex, if a little less immediate, than anything they've done before. [May 2007, p.104]

Ultimately dissolves into a beautifully arranged and slightly sickly morass of curdled pop tropes, out of which spurt a bodacious riff or glossy rave arpeggio. Oddly no-one does this better. [Dec 2015, p.76]

An austere beauty. [Aug 2011, p.81]

Just when you thought Bjork had plumbed and conquered every depth and summit of her range, Dirty Projectors have shepherded her to newer pastures. [Dec 2011, p.81]

While Django Django have spent much of the last decade assembling art-pop collages from eclectic grab-bags of styles, this fourth studio set seems to pull off the trick more seamlessly than ever. [Mar 2021, p.29]

It's a head-turning mix, a sort of pop-art take on Southern gothic, and highly infectious. [Jul 2016, p.73]

Accelerate is a simple, pragmatic record built on an uncomfortable truth: sometimes, even the best bands have to retrace their steps, if only to remind themselves what they're really good at.

Ultimately, it's an album rooted in the constant collision of rock and pop. [Aug 2020, p.27]

Deer Creek Canyon is dappled with sad-slow shuffles and lovely ruminations on escape, the roll of the seasons and her roots in Colorado. [Jan 2013, p.73]

Tell The Devil is full of Biblical allusion and attendant questions of sin and atonement, the 70-year-old's conspiratorial drawl framed by low-down grooves and flinty slide-blues. [Nov 2017, p.30]

Could It Be Different? is a cathartic celebration of newfound self-assurance. [Feb 2018, p.32]

There are a couple of duds, but songwriters Ariel Rechtshaid and Justin Raisen, a kind of grungy hipster take on Sweden's pop factory, still have a tremendous hit rate. [Apr 2014, p.74]

Whenever his scorched Bill Callahan drawl appears, the effect is at once jarring and intoxicating. [Dec 2014, p.72]

Unhurried passages of string melodies dominate, but often underpinned by unsettling notes of cello and bursts of shortwave radio as he explores the myth of Orpheus' escape from the underworld. [Oct 2016, p.32]

Taken on its own terms, though, Nouns is a righteous success: delightfully dazed, good-times punk rock for a new generation of Californian dreamers.

The results are extraordinary. [May 2013, p.76]

The quintet's most vibrant album in two decades. [Apr 2025, p.35]

When you live in Florida, it is summertime all the time, which might be why this Palm Beach quartet have developed such a seasonal vibe on their sun-spotted indie-pop debut. [Aug 2010, p.96]

She's made a hugely satisfying album of slinky electronic soul. [Oct 2013, p.71]

Natalie Merchant has made an album of elemental beauty... she's never sounded better. [Jan 2002, p.140]

The tentative pop entryism evident on albums like 1999's Knock Knock is largely absent here; instead we have his gruff baritone take us through an increasingly uninteresting outlook on love and life. [May 2003, p.108]