While the Joe Pizzulo-fronted "Love came Between Us" may sound like it once soundtracked an '80s romcom, that somehow adds to its retro charm. [Apr 2020, p.33]

The album seems designed to be experienced immersively in the solitude of a dark room. [Feb 2013, p.78]

Blue Hawaii are more about atmosphere than impact, with the production clearly influenced by Cowan's time in Germany studying at the university if Kompakt. [Mar 2013, p.68]

Homosapien sees an intriguing reinvention via more conventional song structure. [Apr 2013, p.77]

A welcome return. [Nov 2022, p.29]

Retains the fullness and amiability of his richest work. [Aug 2020, p.33]

Like a long walk in the woods, it's richly and deeply transporting. [Jun 2018, p.35]

It;s an easy, unchallenging ride, but a satisfying one. [May 2014, p.76]

Hip Mobility favours digital modernism over analogue nostalgia, yet admits the wonder and romance inevitably in play. [Aug 2017, p.35]

A sinewy mix of punk, dub, soul, good tunes and classic guy-rock. [Mar 2004, p.87]

This LP leans towards narrative, rather than racking out kits, but its ambition is very welcome. [Oct 2016, p.25]

While the ideas are sometimes thin, the delivery is invariably wry and charming. [Aug 2013, p.77]

Their imperial phase may have passed, but Slayer will not go easy. [Oct 2015, p.83]

Lacking only a killer single, Big Box Of Chocolates has a great balance of rockers, ramblers and ballads, giggling throwaways and low-key philosophising. [Dec 2016, p.30]

The album is perhaps a little lacking in knockout tracks but instead highlights Bear's clear talent as a producer with a craft for melody and rhythm. [Feb 2019, p.37]

The abundance of dreamy, placid wonders like "Between The Past" and the instrumental "White Wonder Melody" doesn't entirely negate one's longing for more of the ferocious, Ira Kaplan-worthy shredding that fills the final moments of "Another Dream" or other touches that add a wobblier, woozier feel to the proceedings. [Oct 2023, p.37]

Though their drive to fill all available space causes some songs to grow diff use, their vision coheres on “Taken By The Hand”, a suitably audacious fusion of ferocious post-hardcore and anthemic Southern rock. [Aug 2022, p.23]

This is bustling rock'n'roll that doesn't think too hard about much else. [Mar 2016, p.82]

This is a focused record by Weezer standards, one that play to their strengths (sun-kissed tunefulness, nerdy introspection, loud guitars). [May 2016, p.82]

Even when the prevailing mood of introspective understatement threatens to sink into the maudlin or overwrought, there's an urgency about This Path Tonight that keeps things buoyant. [May 2016, p.77]

Finds The Vaccines at their terse, nervy best. [Jan 2024, p.38]

The trio's "shaman beat" can be intoxicating even if it's sometimes more meandering than mantric. [Jun 2016, p.71]

Not everything works, but somehow everything fits. [Jun 2013, p.66]

The remaining quintet have lent their cosmic retro-rock both better tunes and more surprising detours. [Jun 2012, p.83]

A nifty wordsmith whose drawled delivery complements the menace of his woozy productions. [Aug 2012, p.80]

It's a fascinating charting of a band's gradual evolution through experiment. [Aug 2012, p.93]

The routine comparisons with Terry Riley/Steve Reich/Michael Nyman all apply, but there's something more mystical and elemental at work, too, with echoes of the Third Ear Band and Comus. [Oct 2018, p.27]

Genres glom together in unlikely combinations, split and mutate via myriad effects, yet this set is pop to its core, nodding to everyone from Bowie, Byrne and Carl Craig to Arthur Russel and Wire on its way to off-centre intrigue. [Nov 2018, p.27]