There's a clear path being charted, expanding the grammar of R&B into the heart of the modern-day mainstream. [Oct 2023, p.34]

Standouts such as "Rocks Of Time" and "Next One, Maybe" have all the depth, richness and candour that Veirs' admirers have come to expect. [Dec 2023, p.36]

Mostly, though, youthful folk-rock tendencies are sacrificed for Wilco's mature Americana, as on "Only Dream Would Breathe," while additional late-Beatles flavours enhance "Barely Living Room," and "The Bottom Of It" adds hints of Jeff Lynne. [Jul 2019, p.27]

Andrew Weatherall has been employed to help build Tarot Sport a beaty backbone and the results are brutally mesmerizing. [Nov 2009, p. 88]

Unhurriedly crafted songs full of bona fide thrills, unexpected twists, and an elegant but never gratuitous grandeur. [Mar 2023, p.33]

Artists from Phil Lesh, Bob Weir and Steve Earle, to J Mascis and Aaron Lee Tasjan, whose "Travelling After Dark" is a strong cut - interpret Casal's lifetime of work, fittingly as radio staples. [Feb 2022, p.37]

1992 – 2001 does a fine job of collating their best moments from a career that spawned four albums and two EPs, as well as offering nine unreleased tracks from the hours of music they recorded in an empty bedroom that served as a regular rehearsal space.

An album that uses traditional African instrumentation and state-of-the-art electronica with a boldness that is extraordinary. [May 2023, p.31]

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

Everything is carefully weighted and considered, the minimal arrangements helping to foreground these inner lives with poetic candour and convincing detail. [Nov 2016, p.32]

Hyperspace never feels over calculated or overdressed. Instead, it's the work of an artist who sounds fully re-engaged. [Jan 2020, p.20]

[King] brings innate soulfulness to his performances on El Dorado. Each song has a distinct stylistic antecedent. [Feb 2020, p.29]

Like much of the rest of this fine record, [final song, "It's Summertime Again"] sounds like a forgotten hit beamed in from some beatific version of the past. [Nov 2013, p.77]

The production has opened up enormously. [Feb 2017, p.32]

Her sixth, co-produced by Jonathan Wilson, executes no radical stylistic swerve but neither are its 10 songs of a single type. Rather, they’re a balancing of country – here are echoes of Tammy, Emmylou and Lee Hazlewood – and torch song (kd lang, Roy Orbison), with the odd flourish of cocktail-lounge melancholy (a la Badalamenti) and classic, MGM-style orchestrations. [Jul 2022, p.28]

Band Leader David Moore's piano lines are more definable, tinkling through the serene textures in a way that recalls Hans-Joachim Roedelius. [Nov 2014, p.71]

A family of songs that are strikingly evocative, but never overwrought. [Mar 2019, p.25]

Harris is as proud, painful, and plaintive as ever here, dripping with life and dealing in dire certainties. But she never gets heavy about it, and in places sounds lighter than air.

It shares Bon Iver's "For Emma, Forever Ago's" exquisite sense of existing in its own hermetically sealed world. [Aug 2009, p.87]

Throughout, Crowell’s versatile, impassioned voice is in fine fettle, a confident mix of goofiness and longing, anticipation and excitement, sadness and sentimentality, as if he’s just now entering a new prime. He might well be.

The joy is in how much of it there is to listen to, with constant change in tempo, instrument and texture that manage to maintain an overall coherence while keeping everybody from getting bored. [May 2014, p.79]

Their voices just sound so good together. ... Maybe that's why this album ultimately sounds so generous and compassionate despite the many tensions it voices. [Jul 2019, p.35]

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

Thematically and musically, this is classic Hawkwind –epic space-rock with science-fiction lyrics –resulting in a double album crammed with songs like “The Tracker” or “Traveller Of Time And Space” that could have been written at any time since 1970 and therefore fit seamlessly into one of rock’s great canons. [May 2024, p.34]

Auerbach's stoic, close-mic'd vocals and gnarled tendrils of distorted guitar bring a devastating immediacy to an album that contemplates the death of love and, by extension, mortality itself, seeking closure. [Mar 2023, p.25]

"Illusion Pt II" is a deceptively buoyant album opener. ... Album highlight "Sniveller" kicks off with Dry Cleaning-esque new wave swagger before unexpected backing vocals from JG's Lan McArdle deliver a heart-rush. [Feb 2023, p.36]

Co-producer Alex Goose injects some hip-hop chink and spaghetti-western vistas into the arrangements, goosing the languid rhythms, and the hooky “Time Will Tell” momentarily quells the heartache. But the hopeful notes recede on the closing barroom ballad “The Fool”, as Frazer runs out of words, leaving melancholy piano notes to signal the encroaching dusk. [Jul 2024, p.32]

[An] eloquent set of songs about absence and change. [Apr 2005, p.108]