An album that pores over the passing and the past with such defiant, deadpan nobility. [Feb 2012, p.78]

Having coloured in right up to the edges in previous projects, it's a pleasure to hear Ruscha exercising restraint on "Lights Passing By" and "Gravity Waves." [Apr 2018, p.35]

It sounds timeless, and oddly familiar. But subsequent listens add intrigue. [Feb 2014, p.70]

As with Singing Saw and City Music, a lot of time an thought has gone into ensuring Oh My God holds together. Lyrical themes are repeated, explored and teased out. [May 2019, p.22]

He has clearly been galvanised creatively. What an excellent record. [Jul 2020, p.37]

He's a man who cleary thrives on company, his stringy voice bolstered by the presence of Jolie Holland, Neal Casel, an on "No time To live Without Her," Vashti Bunyan. [Jan 2011, p.92]

Whether deployed as a meditation aid or an object for more focused listening, Lovegaze succeeds handily. [Jan 2024, p.31]

The results are sparkling, upbeat and infectious. [Apr 2014, p.73]

His solo debut is simple and earthy, leaning on little more than organ, warm acoustic guitar and his wondrous singing, carrying the betraying quaver of a man who feels a little too much. [May 2012, p.78]

It's a dynamically compelling set that taps Black Sabbath, Chic, Killing Joke, Elmer Bernstein and Paolo Conte, Mike Patton's extraordinary (six octaves) voice its focus. [Jun 2015, p.76]

The results, restrained, immersive and quite beautiful. [Jun 2014, p.71]

Avant-folk with a thin glaze of psychedelia and gurgles of electronica on songs that draw their charm from the contrast between Dyble's crisp enunciation and vaguely experimental settings. [Sep 2017, p.26]

Their songs are a cola rush of pop harmony, like the Fizzbombs with added Mentos. [Oct 2025, p.24]

Stung! is a detail-rich trip as warm as it is wiggy. [Aug 2024, p.39]

Pretty, poignant and educational, too. [Aug 2013, p.71]

A triumph. [Oct 2014, p.77]

Stark, often stunning. [Dec 2006, p.121]

Lonerism is more melodic and expansive then 2010 debut Innerspeaker, connecting the disparate dots with real elan. [Nov 2012, p.84]

These 18 collaborations are a fascinating voyage through the classier end of pop, country and R&B over the past decade, and also add much needed focus to Jones (sometime insipid) mix of country and smooth jazz. [Jan 2011, p.93]

There's a sustained congruence about the rhythms and textures that make The Take Off and Landing of Everything seem like an extended and mediation on certain musical and lyrical themes. [Apr 2014, p.72]

Here they have shuffled back a few years from the disco and jazz-funk infusions of 2021's Private Space to a more sun-dappled classic soul sound. It suits them perfectly too. [Aug 2025, p.32]

A provocative and inventive second album. [Sep 2009, p.96]

End Times is not merely Eels' best album yet, but in the highest rank of breakup albums, something with the anguished fury of Ryan Adam's "Heartbreaker," sighing with the stoic resignation of Bruce Springsteen's "Tunnel Of Love." [Feb 2010, p.83]

[Fear Fun is] packed with sardonic, self-effacing songs that recall the finest traditions of harmony-soaked West Coast folk-and-country influenced rock'n'roll. [Jun 2012, p. 68]

These crafted tracks are built for dancefloor delirium, yet darkness and unsettlement abound, awkward elegance and cool beauty twinned with repetitious abandonment. [Sep 2016, p.74]

By and large, it's contemplation they're seeking. [Aug 2014, p.81]

If Hypnotic Eye was just about the snarl, it'd lose steam fast. Instead, it's only one element of a story that's bigger and richer, which is how a storied American band returned to the core principals of yesteryear without having to pretend to forget all they've learned in the meantime. [Aug 2014, p.63]

These 10 songs feel bold, nourishing and emotionally resonant. [Nov 2016, p.34]