This is an album filled with earworms, with hooklines and stray phrases that burrow deep into your consciousness. [Sep 2016, p.72]

Eight relatively streamlined stoner-rock cuts. ... But Fuzz are best when they embrace ridiculousness. [Nov 2020, p.29]

A wonderful pop album that reads as both a studied tribute and a welcome update. [Apr 2023, p.35]

Surreal humour, suave style and deluxe Europop make for a potent comeback. [Nov 2016, p.40]

Benjamin "Raffertie" Stefanski invents a kind of haute couture techno-soul on this classy debut. [Sep 2013, p.94]

Anderson's admiration and affection for this feminist icon is such that you come away from Amelia with a greater respect for those who keep on taking risks. [Sep 2024, p.28]

Though feelings of disaffection inevitably colour Foam Island, a tentative optimistic note emerges in songs like the title track and "Stoke The Fire." [Nov 2015, p.73]

Hen's Teeth is where Beam truly leans into the possibilities of dropping simple songs into the laps of intuitive musicians and delighting in what emerges. [Mar 2026, p.27]

The result is a quietly moving hymn to home and humanity. [Mar 2021, p.29]

The singer-guitarist somehow manages to deliver passages of remarkable intimacy within this sonic immensity, as if the sounds were an externalisation of the ravaged psyche he first exposed on the 2014 modern-day landmark Lost In The Dream. [Dec 2024, p.39]

A perfectly formed masterclass in early hours reflection. [Aug 2020, p.82]

A set of songs that inscribe their intensities and their romantic visions directly on the listener's heart. [Feb 2016, p.76]

These 12 big-hearted, wayward country-soul songs deliver manifold charms, not least of all with "Chance To Bleed", a carousing, unabashed tilt at Sticky Fingers-era Stones. [Jun 2026, p.35]

Their wispy, diaphanous reworking of The Cure’s 'Just Like Heaven' suggests the Watson formula could travel far.

They've come up with a non-vocal album that surprises and delights. [Nov 2008, p.112]

The fact that Parker sings five of eleven tracks is The Invisible Way's other obvious point of departure, and one of its great strengths. [Apr 2013, p.61]

There are lots of martial bust-ups and squalls of fretboard fury that show that Buddy may be old but he's still wild. [Jan 2011, p.88]

There are a couple of duds, but songwriters Ariel Rechtshaid and Justin Raisen, a kind of grungy hipster take on Sweden's pop factory, still have a tremendous hit rate. [Apr 2014, p.74]

It's remarkable that the cosmic Ekstasis--recorded in Holter's home with only five musicians--feels surer of itself than Tragedy, a record rooted in millennnia-old practice. [Apr 2012, p.72]

The music here is intimate yet remote. [Dec 2002, p.140]

Here it brillianrly showcases the interplay between Iyer's melodic clattering, Stephan Crump's slithery bass and Marque Gilmore's fizy drum explosuions. [Oct 2009, p.98]

It's when the band marry this discordance with melody that they really shine. [Nov 2021, p.35]

Unquestionably, it is beautifully done. [Jun 2011, p.80]

There's a heightened atmosphere and sense of scale throughout. [Jun 2012, p.84]

The album which confirms that the older, wiser Dinosaur Jr--Dinosaur Sr, if you will--compete on quality as well as quantity. [Sep 2016, p.73]

A head-first plunge into the psych-punk muck. [Aug 2012, p.76]

The pick of the bunch are the two recordings made in 2000. The first is a live set recorded shortly after Glastonbury at the BC Radio Theatre featuring Bowie's well-drilled band on a post-Glasto high, working through the hits. The second is Toy. [Jan 2022, p.38]

The record is a listen-through winner, but the title track and languid, acoustic closer "John Prine On The Radio" are standouts. [Aug 2024, p.35]