The result is a milestone in modern psychedelic soul.

It's real allows the band to stretch their legs a bit, to jam ferociously without looking at the time, to slow things down, to try out a few new tricks. [Apr 2019, p.27]

A set that ranges from funky to subdued. It's a sparser affair than the Tweedy-produced trio. adding only backing voices to a bass/drum/guitar lineup in which Harper's searching playing provides the principal, sometimes sole counterpoint to Mavis's earthy, heartfelt vocals, their power remarkably intact in her advancing years. [Jun 2019, p.22]

Her quirky homespun arrangements have been toughened and broadened, adding a knowingly retro girl-group stomp and echo-drenched Spector-ish grandeur to windswept heartbreak anthems. [Apr 2011, p.85]

The Sadies are one of the finest backing bands around, and team up adroitly with John Doe to produce a cracking set of country classics. [May 2012, p.71]

There's an addictive, hypnagogic quality to this ghostly combination of ambient noise, treated vocals and bursts if static. [Aug 2016, p.73]

It's a lovely record: McCartney is typically chipper, the song selection outstanding and the sound fabulous. [Jul 2024, p.52]

Africa's new axe hero marches on. [Aug 2011, p.104]

A pulsating collection of disco bangers. [Nov 2017, p.23]

It's touches like these--the suggestiveness of the pauses, the silences, the miniature worlds between the painterly notes Cooper and Hoare play--that makes Dusk, for all its influences and its rear-view mirror vision of classicist pop, such a seductive album. [Oct 2016, p.30]

Imaginative album. [Jan 2026, p.32]

Sadness is necessarily these songs' anchor, but there's hope and resolve, too. [Oct 2016, p.35]

It's a high-concept work that also stands on its own, radiating beauty, calm, comfort and energy. [May 2022, p.30]

What's especially daring about Not Too Late is the degree to which Jones and [producer Lee] Alexander trust their songs and her languorous voice to hold the listener's interest. [Feb 2007, p.75]

C Duncan's fifth album, like Ricard Hawley's catalogue, is imbued with an old-fashioned, Technicolor warmth. [Feb 2025, p.34]

Halvorson's string arrangements admit complexity without overwhelming, and the Mivos String Quartet play gracefully and authoritatively. [Aug 2022, p.26]

Cosmopolitan, anglophile, afrobeat--Vampire Weekend are in an Ivy League of their own.

The thick broth of Kyle Falconer's Scots vowels remain the signature sound--but don't let it distract you from some genuinely adventurous and witty indie guitar rock. [Mar 2009, p.107]

Nice work all round. [Apr 2011, p.86]

There are stormy rockers and stately, fevered ballads. "Music For Love," meanwhile, condenses Sweet's philosophies into one joyous singalong. [Aug 2017, p.38]

Under Cold Blue Stars is a towering achievement. [Apr 2002, p.108]

Guitarist Dave W and company gather up Krautrock, Loop, Acid Mothers Temple, Cul De Sac and a host of other materials with radioactive long life to create a fusion intended as toxic blowback in the faces of right-wing America. It's a face-melting combination. [Aug 2011, p.104]

Ganglians take care to lace everything with bright, primary colour melodies, suggesting they might yet follow the likes of MGMT and Yeasayer into the mainstream. [Sep 2011, p.87]

These are dark and heavy songs for dark and heavy times. [Jan 2026, p.31]

Self-imposed limitations allow Lawrie to create unusual textures and sounds and force him to be more resourceful in how he deploys them. [Mar 2023, p.36]

A soul-funk "cousin" to Big Inner, featuring a hefty dose of off-kilter Afro-pop alongside jazz-rock freak-outs and the acid-country of "Blue As My Name," where Blau claims to be "drunk with Wonder again." He sounds it. [Dec 2017, p.22]

Uncompromising, adventurous score. [Dec 2018, p.27]

That a curdled, unifying groove undulates throughout this perverse collection is testament to Dear's abundant skills. [Sep 2010, p.91]