A brave, thoroughly welcome comeback. [Dec 2022, p.28]

Fatherfucker pillages Missy Elliott, Suicide and "Justify My Love"-era Madonna, and even outfoxes the Yeah Yeah Yeahs. [Oct 2003, p.126]

The impressive Alternative Light Source sees Barnes picking up, with a snarl, where the pair left off. [Jul 2015, p.78]

The Latin syllables are well suited to Patton's croon and snarl, and he attacks Fred Buscaglione's cavalier "Che Notte!" with relish. [Jul 2010, p.117]

Lidell's vocals are alternately anguished and joyous but always supple. It's quite a ride. [May 2010, p.97]

By using layers of shoegazey guitars and powerfully mic'd-up drums, they create soundscapes that combine Americana with English pastoralism. [Sep 2016, p.67]

This is a rich offering crammed with songs that are heavy with atmosphere and humour, all wrapped round a voice that demands attention. [Oct 2016, p.26]

This time they've come armed with an acoustic guitar to counterpoint their love of reverb--something that works well with their generally playful attitude. [Aug 2011, p.100]

It seems he's at peace with trip-hop and his legacy. However, the punky "Dark Days" with Mina Rose and a minimal take on Hole's "Doll Parts" with singer Avalon Lurks suggests he remains restless for what might be over the next smoky horizon. [Nov 2017, p.36]

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

If its pace is funeral, though, its mood is elevating. [Jan 2020, p.31]

Skyway Man's fantasy realm is absorbing enough that he can pull off increasingly audacious musical combinations. [Dec 2020, p.38]

Impressively, in a nod to Avery's crowd-pleasing and circuit-bending skills, this is a techno album that seldom sags. [Nov 2013, p.65]

The rest of the album freewheels around American music with a virtuosity and spontaneity that belies the group's indie-rock roots. [Dec 2013, p.67]

Cray's oft-overlooked voice croons with rare tenderness over the Bobby "Blue" Bland cut "You're The One," and there's a spiky funk to Don Gardner's "My Baby Likes To Boogaloo." But Cray's own compositions are just as striking. [Apr 2020, p.26]

“Waters Of Nazareth” yawns like a car crusher, mashing hip-hop, electro and funk into gleaming slabs of sound, while “D.A.N.C.E” displays a lighter touch, channelling Chic disco in a whirl of sugary keyboards and euphoric violin stabs.

The way it weaves this constellation of influence and artfulness into 10 songs that are lighter than air, deceptively simple, yet cumulatively, surprisingly moving. [Aug 2022, p.32]

An album from a band that still sound truly individual. [Oct 2023, p.25]

A blend of delicate, hypnotic electr-folk and pulsating prog--a tantalizing treat. [Sep 2008, p.99]

The songwriting is always of a high quality. [Mar 2012, p.79]

Imagine John Fahey channelling the pulse minimalism of Steve Reich or Hendrix jamming African highlife on a digital drive pedal. [Dec 2010, p.119]

A fuzz-tinted spaghetti-western vibe holds it all together. [May 2016, p.75]

Quade's trump card is the way they balance graceful solemnity with little sparks of discontent. [May 2025, p.35]

If the initial effect is underwhelming, after several plays you find the tunes have buried themselves in your head and layers of intriguing subtlety are revealed. [Aug 2009, p.98]

If--as you should be--you're in love with Luna... you'll come over all swoonalicious to this subtly sparkling spin-off. [Dec 2003, p.130]

The lackadaisical nostalgia for childhood beach holidays is certainly evocative--as indeed, is the way Real Estate recall New Jersey Antecedents The Feelies and Yo La Tengo, plus any number of old Flying Nun bands. [Feb 2010, p.96]

The noise they make is thrilling. [Jun 2011, p.78]

There's plenty of uncommon beauty in these four hours of stalagmite electronica. [Sep 2016, p.69]