The chiming and charming likes of "Scratching At The Lid" and "Wanderlust" are typical of the second effort. [Sep 2021, p.31]

Another batch of weapons-grade psychedelic reggaeton that buckles and grooves with sinuous grace. ... The sole clanger is "Born Yesterday." [Jan 2022, p.21]

Though these tracks are fluid and often meandering, they never lose their immersive, pulse-like groove. [Jul 2023, p.24]

For all of the album's lushness, Grip may be most defined by its unabashed lustfulness. [May 2024, p.39]

This lolls with a neat mix of languor and subtle urgency through the kind of smart/funk The Beloved mastered 20 years ago. [Jun 2009, p.90]

So, no startling change of pace, direction or feel, then. Instead, what Tindersticks sound like on this subtly strong album is a band with restored self-belief, again loving doing what they do better than anyone else.

Loud and lively, fast and fuzzy, this scattering of creative energy is the most persuasive solo record Coxon has released. [May 2012, p.64]

The 12 artfully crafted songs here suggest Blitzen Trapper should now be judged in the elevated company of Wilco, Brendan Benson and The Raconteurs. [Jul 2010, p.113]

It's an album of two halves, with "Rock And Roll Again" summarising a scene-setting opening hand that focuses on good-time, AC/DC-worshiping rockers. A shade more subtlety comes late on. [Mar 2015, p.72]

BAG's core values remain intact, but it's an exhilarating advance. [Feb 2019, p.24]

Hynde's default here is swoon and ache. Add her incendiary guitar to Mingus instrumental "Meditation (On A Pair Of Wirecutters)" plus a lovely dubbed-out, spacy "Caroline No" and her one-of-a-kind signature is writ large. [Oct 2019, p.29]

A darker and dramatically more cohesive collection than its predecessor. [Sep 2003, p.108]

Greg Weeks and band reference artists as diverse as Michael Rother ("Caroline"), Cowboy Junkies, and "No Quarter" - era Zeppelin, but the classicism of their compositions keeps all this firmly in the service of the song. [Dec 2009, p. 92]

Though the production has improved, there's still a certain lyrical flimsiness and a sense that, enjoyable and stylish as Two Suns is, it's still just horsing around in the dressing-up box of '80s pop, in a way that's more Might Boosh than Kate Bush. [May 2009, p.77]

After a moment of comparative restraint he returns with a double album so spectacularly grandiose you have to wear 3D specs to hear it properly. [Nov 2011, p.91]

The tunes are getting stronger. [Oct 2019, p.24]

While it's sometimes a little too precious or studied, there's plenty of beautifully blank melody here, too. [Feb 2023, p.26]

It feels like an extended hymn to his home state. [May 2011, p.92]

Parts of Myth Takes [are] as close to commercial... as !!! can get without combusting. [Apr 2007, p.92]

Regularly a memorable lyric leaps out--but too often the pared-down aesthetic is an excuse to coast. [Aug 2009, p.96]

Mastodon idiocy it may be, but on "Honey From A Knife" and "For The Animals" at least, the fire in their eyes keeps them alive, [Jun 2012, p.71]

Shriek is a sustained act of seduction, a deftly conjoined conjuring of song, rhythm and mood. [May 2014, p.83]

The fatalistic and darkening Gothic moods bring out some of the shiniest elements of his prodigious talent and imagination. [Aug 2013, p.67]

It's aggressively zen numbers such as "Enter Exit" and "Water" that finally succeed in dragging you up to that higher plain. [May 2020, p.23]

Their take on the genre [is] sharply observed and utterly sincere. [Feb 2015, p.83]

The finished work is a smorgasbord of all of their best bits. [Jun 2024, p.34]

This sounds like the record Vic Chesnutt's been waiting his entire life to make. [Apr 2005, p.112]

An audacious, risk-taking tour de force, it locates itself in the upper reaches of Steve Wynn's increasingly daunting canon. [Jan 2011, p.87]