Black Sun is subdued and ruminative: snaking around dancehall, grime, hip hop, but holding fast to its own uniqueness. [Jun 2011, p.87]

The result sits somewhere between Mazzy Star and Broadcast, exploring a liminal space between the more propulsive moments of the album. [Apr 2024, p.41]

Faun Fables sound more shamanistic than ever. [Sep 2016, p.74]

There's no dazzle here, but that's precisely the appeal of the Glen Campbell-like "Searching For The Sun," "You And I" and the high noon mariachi of "I'm A Man." [Jul 2013, p.81]

Lands as another Technicolor blast. [Jan 2022, p.22]

Their third and strongest album, pitching them closer to Captured Tracks labelmate Mac DeMarco. [Oct 2015, p.84]

It's just a lovely collection of songs, in which the serenity of voice and understatement of band create a humane intimacy rather than anything more mystical. [Oct 2016, p.32]

It's the gently chiming guitars, summery synth lines and Vallesteros' Beach Boy melodies that dominate. [Sep 2014, p.71]

Feels like the first step in a viable third chapter for a band that has rediscovered its identity. [Apr 2021, p.30]

Mixed, but mostly positive results. [Jan 2016, p.73]

Most crucial is a penchant for '60s chanson's soft-focus harmonies and production values. [Jul 2020, p.30]

After years of striving, makes Augustines a band that now sound energised by palpable relief. [Apr 2014, p.69]

This tasteful collection is best represented by McBride;s cover of Harold Melvin & The Blue Notes' "If You Don't Know Me By Now," matching her satin to the original's velvet. [May 2014, p.77]

Though they're all pushing 40, Hot Chip have seldom sounded as youthful and carefree as they do on seventh studio album A Bath Full Of Ecstasy. [Jul 2019, p.29]

Too engaging to be ambient, too amorphous to be melodious, Félicia Atkinson's latest continues her ASMR (autonomous sensory meridian response) experiments, her poetry whispered--often indistinctly--over strangely riveting electro-acoustic collages. [Aug 2019, p.26]

An occasionally excellent but disjointed album. [Jun 2012, p.71]

It's consistently charming. [Oct 2019, p.29]

The three proper songs are the highlights, though, with the Bacharach-esque title track among the finest Rhys has ever produced. [Nov 2016, p.37]

Konkoma's sound is rooted in 1970s Afrobeat, complete with blasting horn section and gloriously fuzzy organ, but shot through with touches of highlife, funk and rock. [Aug 2012, p.75]

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

There's nothing fussy about the way Chatham County Line continue to go about their business, their acoustic music occupying the sweet spot between Del McCoury and The Jayhawks. [Jan 2017, p.22]

She is in her Hot Gossip element on the camp, gasping electro of "Sauna", while the Morricone-referencing "Ride" channels Sheila B Devotion by way of early-'90s Madonna and the title track is sheer seduction in silk pyjamas. [Jun 2026, p.35]

With Fool, his focus is as much on method as material. [Feb 2019, p.27]

White's material feels freer than usual, full of spirals of organ and keys, collapsing new rhythms and delirious jazz-funk riffs; Holley's one-take improvisation edge towards visionary incantations. [May 2021, p.35]

From the hypnotic opener “Kasai Munene” to the upbeat closer “Allstars All Around” with its spiralling soukous guitars, this is celebratory music-making at its most joyously instinctual. [Jul 2021, p.27]

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]

It's all delivered with gusto and buckets of charm. [Jan 2014, p.76]

Now manifesting more of an intense, slow burn than a fierce blaze, they sound no less anguished. [Apr 2014, p.74]