Traditionally, country music and club-derived electronics make for awkward bedfellows, but it's a testament to the strength of Gibson's strange vision that Me Moan might well become a touchstone of modern-day Americana. [Aug 2013, p.66]

Rennie's lyrics remain full of transfixed wonder, sketching places where ghosts swim in the air and sea kelpies call fro, the shallows, while Brett's lugubrious tones are a perfect conduit for songs like "Gold," "Gentlemen" and state -fair attraction "Tiny Tina," the world's smallest horse. [Oct 2016, p.32]

Occup[ies] the same sonic territory as The Dandy Warhols' underrated Come Down. [Aug 2003, p.108]

The whole thing feels like a dusky gambol through America's musical past. [Sep 2014, p.81]

Amos has never been in rangier voice. [Mar 2005, p.102]

This isn't mere sonic overload; Corin Tucker and Carrie Brownstein's vocals are still towering. [Jun 2005, p.107]

It’s all strong enough to hopefully attract listeners beyond Tindersticks’ hardy fanbase. [Oct 2024, p.43]

Blessed with a baritone unmatched in modern pop, he delivers 15 exquisite ditties. [May 2006, p.108]

Intriguing. [Jul 2007, p.116]

The surrounding circumstances inevitably bring an additional layer of darkness to allusively eloquent, quietly agitated songs. [Apr 2026, p.36]

Another sly masterstroke by the canniest widow in rock. [May 2007, p.103]

T Bone Burnett combines his vast understanding of American roots music with Randolph's vital grounding in gospel on the sacred steel virtuoso's third studio album. [Jul 2010, p.117]

Newfound sobriety has sharpened Lilly's focus since her previous release, as does the backing of dad's touring band and the unfussy production by Shovels & Rope's Michael Trent. [Mar 2018, p.26]

This release compiles non-album tracks, remixes and a couple of new tunes, but it feels like a perfectly focused set of retro-modernist dance. [Jan 2012, p.90]

Tracks like 'Couples' prove their trademark sound is still as strong (and smart) as ever. [May 2008, p.102]

A quietly spectacular bunch of songs. [Jun 2020, p.28]

Hippo Lite feels like Le Bon and Presley's own little musical microclimate. You don't have to know exactly what they're on about to recognise that it's something special. [May 2018, p.25]

Here they sound truly alive, impassioned and buoyant on their finest LP to date. [Jun 2018, p.33]

Despite ts sometimes laidback nature, Sparkle Hard also bristles with an energy that proves he's got a place in the present, and a new accessibility that compromises none of his eccentricities. [Jun 2018, p.18]

Grey Britain builds upon its predecessor without diluting any of its rabid energy and grinding, oppressive negativity. [Jun 2009, p.86]

Initially foreboding, its laminar abstractions give way to the stealthy textural seductions of centrepiece "Line Angel," where shards of electronic glass penetrate a wavering organ drift, and the choral minimalism of closer, "MFBK." [Jun 2016, p.78]

Submerged are the country/folk ramblings of 2012's Arrow, replaced with a challenging density. [Jul 2015, p.77]

Somehow, Turbines suggests both consolidation and progress. [Jul 2013, p.83]

Her lyrics and voice remain major draws. ... Soothing balms following the drama of Songs. [Nov 2020, p.26]

Consistently entertaining beautifully recorded, enough lyrical Malkmusing to occupy a generation of decoders, plus it rocks. [Sep 2011, p.92]

Despite the obvious threads, songs as good as “Nullspace” and “Soonish” transcend any cynicism, and you’re left bathing in a welcome optimism. [Dec 2024, p.35]

A bold step into more contentious terrain. [Feb 2021, p.34]

Effectively picks and mixes from the Jansch stylebook. [Oct 2006, p.130]