The highlights are revisitations of songs from Laughing Clowns - "Collapse Board", in Particular, is as vicious, mordant and highly strung as ever. [May 2025, p.32]

It's heavy R&B with a slight goth-punk vibe thanks to the pummelling rhythm section and Childish's dead pan vocals. [Jan 2026, p.31]

Life Slime is anything but maudlin, though, as Lynch ad producer Mike Lindsay fashion spry, agreeably wonky electropop from an arsenal of synths, samplers and other instruments. [May 2026, p.34]

Roadkill Rising, merging generally strong performances with reasonable-quality recordings, manages the thorny task of excerpting some 20-plus concert tapes into a cogent history. [Jun 2011, p.94]

There's another clutch of great Real Estate songs on this gentle delight, and some clues as to where the group could go next, if they chose to really stretch out and see what else their songs could do. [Apr 2020, p.34]

A beautiful album, and one that conveys such stillness that time itself seems to hang suspended. [Sep 2010, p.104]

It’s a little stiff and metronomic in places, working more as a calling card to Hollywood than a standalone album. [Jul 2022, p.31]

There are rowdy barn-raisers, but also melodic, meditative grooves and strange, insidious songs. It’s an album of almost fragile beauty, intense loneliness and raging storms. Not for the last time, Crazy Horse took Neil Young somewhere he wasn’t expecting. It’s just a shame it’s taken us so long to get there too.

“Build A Fire”, too, is an air-punching anthem, though Torquil Campbell prefers lighter-waving on “To Feel What They Feel”, which, like “If I Never See London Again”, turns to polished ’80s production techniques. They can’t shake their melancholy, however. [Sep 2022, p.32]

While the music has incorporated a more expansive but similarly idiosyncratic palette. Fripp-esque sustain, synths and drum machines colour a beautifully constructed record that brings to mind Aztec Camera’s High Land, Hard Rain or Scritti Politti’s Songs To Remember. [Nov 2024, p.40]

A sweltering sun-baked quality. Lyrically, meanwhile, the concept--of discomfort with technology--comes a little more into focus here. [Aug 2017, p.31]

White's material feels freer than usual, full of spirals of organ and keys, collapsing new rhythms and delirious jazz-funk riffs; Holley's one-take improvisation edge towards visionary incantations. [May 2021, p.35]

Like Bryan Ferry aglow after the best afternoon stroll of his life, stylish and uncharacteristically serene. [Apr 2013, p.72]

As with most "difficult" albums, the more one listens, the more forgiving they become. [May 2013, p.77]

So how does that chaos translate into making music in your fifties? With greater depth and variety, it would appear. [Jun 2024, p.36]

It's the vivid, virulent product of the Maels' warped imaginations. [Mar 2006, p.90]

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]

The songs on Tare's fourth solo effort brims with joy, wonder and the sheer pleasure to be found in making sounds. [Mar 2023, p.25]

If there’s any justice, Mug Museum should break Le Bon out of her current cult status. [Dec 2013]

They've developed a needling, post-punk style that nods to Joy Division, Gang Of Four and Shellac. [Feb 2015, p.84]

Ryan Adams is very much Ryan Adams being Ryan Adams. [Oct 2014, p.68]

American is seldom better than its title track, searing swamp-punk that recalls Grinderman in its diabolic abandon. [Apr 2013, p.78]

Will is an irresistibly immersive set-piece. [Jun 2016, p.69]

While this album is furnished by post-rock's brittle, metallic sound, Prewitt's songs are full of chamber pop's gilded warmth.... A fine, if overlong, album. [Jul 2002, p.118]

A worthy West Coast counterpart to El-P's superb Fantastic Damage. [Apr 2003, p.108]

Signals a further burst of creativity, suggesting there are still great things to come from the Australian Lennon & McCartney. [Jul 2002, p.123]

The acid-daze reveries are rich in detail, thought the baleful undertow and samey melodies lose momentum over the 22 tracks. [Apr 2002, p.113]

Undeniably the work of a modern underground pop maestro. [Apr 2002, p.113]