[Kids] sees her punching through with aplomb, via 13 lean, attitudinal songs with a bass music and hip-hop/trap chassis, fitted out with pop hooks and featuring her fine, versatile voice. [May 2021, p.25]

Over the course of 80 compelling minutes they roam laggardly through rural post-rock, prog, folk, ambient and doom metal pastures without ever trying your patience. [May 2009, p.80]

Aldred's third album as Cherry Ghost is so unashamed in its embrace of the warm croon, the twinkling keyboard, the swelling orchestra and the poignant chorus that its 10 songs might stretch the patience of anyone who wants some jagged edge in their melancholy MOR classicism. [Jun 2014, p.73]

His debut LP impresses, in large part thanks to smart deployment of guests. [Sep 2016, p.70]

The best tracks retain a vestige of Spank Rock's energy. [Sep 2020, p.35]

Whenever he [frontman Jeremy Gaudet] does lose his footing, the band’s imaginative take on mid-2000s indie rock – all churning guitars and zigzagging synths – steadies this Chopper. [Sep 2022, p.26]

The band's first full-length project with prolific writer-producer dan Carey mostly stays within familiar punk-funk parameters, but is generally an infectiously kinetic, richly detailed, timeless affair. [May 2024, p.29]

It’s proof that, when he escapes from awkward, self-conscious navel-gazing, Oberst can be a songwriter of some note.

Songs In A&E swells with tender, cautious optimism.

A vague air of missed opportunity hangs over this frustratingly short snapshot. [Dec 2001, p.124]

An extremely moving and potentially radical record. [Sep 2003, p.99]

Whereas the fucked-up, punk attitude [Ryan] Adams feigned on Rock'n'Roll was based on little more than pique, The Heat is all genuine passion, brimming with energy, anger and great tunes sandwiched between the dense guitars. [Jul 2004, p.114]

His seventh sees few stylistic changes. [Apr 2011, p.78]

The Joe Henry-produced LP is full of subtle beauty and rich imagery, but there's so much of it. [Oct 2013, p.72]

Joining the fun are pals such as Ethan Miller, Stephen Malkmus and Cass McCombs, who add to the sense of chaos, but do not diminish the cohesion that make these diverse jams so stupidly, thrillingly rewarding. [Dec 2015, p.79]

Tin Can Trust is a masterful album from an undeniably great American band, at the peak of its considerable powerers. [Sep 2010, p.88]

The addition of vocals is hugely welcome, even if they are only Panda Bear-style chants. [Apr 2012, p.77]

Some of the most exuberant and immediately engaging music they've ever recorded. [Aug 2017, p.22]

Deafman Glance picks up the thread he's laid down with the stronger songs on Golden Sings That Have Been Sung. [Jun 2018, p.34]

He's a minimalist/multi-instrumentalist who manages to find warmth in what could otherwise be sparse and unforgiving--note the breathtaking pauses between chords in "arise Arise" or the unremitting lilt of "All Day Monday And Tuesday." [Nov 2009, p.117]

The backing is beautifully understated but it's Becky Stark's pure, unaffected folksy sigh that's a thoroughly comforting presence throughout. [Dec 2012, p.73]

A real treat. [Jul 2005, p.92]

Reveals a side to Broadcast rarely heard: that of a band who are relaxed, at play and in places almost carefree. [Sep 2006, p.76]

Cheatahs brings to mind the era's second-tier acts, such as Swervedriver and Drop Nineteens--faint praise, but praise all the same. [Mar 2014, p.73]

Recording at home, [lends] Moh Llean its rougher edge. [Apr 2017, p.40]

Beneath the catchy hooks, a collection of bleak songs about nihilism and failure are revealed. [Sep 2009, p.92]

It’s an extravagantly orchestrated set, but with Marc Ribot as lead guitarist and the Dirty Three’s Jim White on drums, the playing remains off-kilter, to quite thrilling effect.

One of his most engrossing albums yet, a gorgeously unsettling collection of itchy electronics. [Apr 2016, p.81]