The Follower delicately shifts the emphasis from trance to techno, continuing the slow descent into darkness begun with 2013's Cupid's Head. [May 2016, p.73]

An immersive, gently hypnotic and sporadically sublime album. [Dec 2022, p.29]

There's no seismic shift here, but the differences--and listening rewards--lie in the indeterminate spaces between their sources. [Jul 2014, p.77]

A sparkling set recalling the mid-century tipping point of folk revivalism into rock. [Apr 2024, p.38]

Thrashes to the classic American assembly-line rock of Springsteen and the choppy pop of early Nick Lowe/Joe Jackson. [June 2004, p.88]

The sparer treatments on How Beauty Holds the Hand of Sorrow make for something more enthralling, partially because of how much the largely piano-and-vocal arrangements evoke the crystalline beauty of Brun's early albums. [Jan 2021, p.23]

Pratt has one of those voices, like Josephine Foster, that remain stubbornly, elusively ageless. [Feb 2013, p.78]

A suite unreliably narrated by a character named Miami. ... The album is a wittily wrought soundtrack of his delusions. [Dec 2017, p.25]

The title track's mod R&B struts with the confidence of a band whose last album hit the Top 10. [Jun 2019, p.37]

May be Regan's finest 35 minutes to date. [Sep 2019, p.33]

People Helping People is evenly split between eerie, washed-out rumblings and more frenzied outbursts of Sonic Youth-ful skronk and motorik madness. [Oct 2022, p.33]

Supreme Balloon adds up to the duo's most consistently enjoyable albums yet. [June 2008, p.98]

He's never sounded quite so bitter as he does on Wrecking Ball.

Laudably, unfussy. [Feb 2020, p.35]

The ornate multitracked chorales retain a heady intensity. [Sep 2015, p.73]

Comes across like a hi-fi version of Tom Waits at his gnarliest. [Jun 2006, p.92]

Though featuring young musicians, this album is antique rathe r than groundbreaking in feel, pleasing evoking a sweet, after hours blues cellar fug, all slide and sax. [May 2010, p.83]

Initially it's hard to detect much disruption to his usual winning formula of squelchy keyboards, pulsing rhythms and glassy guitar noodles, but the dank electro of "AE" and the hot-stepping snares of "O" introduce a note of disquiet that only pulls you further into his exquisitely crafted universe. [Feb 2018, p.30]

Temet manages to broaden their sound further, forging links to funk, soul and jazz. Crucially, though, they've retained the traditional rhythms that make them so captivating. [Mar 2018, p.26]

This, bara clutch of mellow moments, has unclouded ambitions to pack the dancefloor. [Feb 2020, p.27]

From the electrifying first few minutes of Things Are Great, it's evident that Bridwell is revitalised. [Feb 2022, p.25]

An invigorating debut. [May 2014, p.78]

Robust, sparkly. [Jul 2019, p.24]

This is uncluttered, radiant music with the lightest touch and muggiest of voices. [Mar 2005, p.102]

However dry or highbrow it may sound on paper, Johannsson's melodious symphony of strings, electronics and choral elements is totally accessible and, for most of its 60-plus minutes, achingly lovely. [Jan 2008, p.101]

The piano house pop of “Woman” and synth-fuelled trance of “Holiday” could have been released in 1992, but they’re no less likeable for it. They’re shot through with CM’s trademark wry cool, as is “What I Like”, wherein Sugar Bones’ laconic vocal makes a dancefloor anthem sound somehow like The Dandy Warhols gone disco. [May 2022, p.25]

Unashamedly shaggy compared to the sibling' meticulously crafted Lemon Twigs LPs. .... An illuminating look under the hood of the creative process. [Mar 2025, p.31]

It's appealing stuff--Lil Wayne is a fan--while the pair's wit suggests they'll continue to stay ahead of the critical curve. [Sep 2008, p.85]