They never outstay their welcome or settle into anything as complacent as a groove, leaving nothing behind but a sugary residue and a feeling of faint violation. [Jan 2016, p.80]

The album is dominated by her fine, Jolie Holland-style whimsical vocals, backed by gorgeous arrangements from the mulch-instrumental band. [Mar 2013, p.70]

Though it lacks the ingenuity of Holiday, the palpable tenderness of Get Lost or the rigour of 69 Love Songs, it does satisfy a need. [Jun 2020, p.36]

The results are sometimes almost listenable, which is why the most compelling songs on her third LP allay these avant-garde instincts to a belting tune. [Jul 2016, p.69]

Humorous, pithy and downright ballsy. [Sep 2001, p.106]

Like a cross between X-Ray Spex and rage Against The Machine as reinterpreted via US hardcore, there's plentiful anger, but also a hopefulness. [Sep 2017, p.26]

Acoustic guitar features, alongside synths, samples and field recordings, but for all their adventurism, these songs have structure. Still, diversity rules. [Sep 2017, p.32]

It's refreshing to hear Paul Humphreys and Andy McCluskey challenging themselves as OMD enjoy their Indian Summer--"La Mitrailleuse" blends gunfire and military drums--even if the results mostly end up as blue-eyed Kraftwerkian pop. [Oct 2017, p.36]

Their debut to Sam & Dave is plain, but there;s as much Alabama Shakes and a pre-stadia Kings Of Leon too. [Oct 2015, p.81]

Full of sound and furry. [Sep 2013, p.89]

Butler performs the same job that Trevor Horn did with Belle & Sebastian--adding a widescreen pop ambition to McIntyre's flinty personal tales. [Nov 2018, p.34]

Notably louder than Hersh's other solo records, if it evokes anything else in her canon it's throwing Muses' furious, fabulous 1992 album Red Heaven, "Loud Mouth" and "LAX" being especially elemental eruptions. [Nov 2018, p.30]

The Glasgow guitarist's follow-up is more singular, placing Hubbert's spidery flamenco-influenced instrumentals alongside some less compelling vocal outings. [Oct 2013, p.70]

The mood is melancholy, the voice crystal clear, the folk-based songs deadly direct. [Feb 2014, p.78]

It's an album of disco torch songs with the usual glib lyrics about good times and sexy dancers replaced by light-hearted queer/feminist sloganeering. [Mar 2014, p.82]

The Los Angeles MC-producer hasn't yet made a definitive record. Cherry Bomb isn't it either, but its chaos is invigorating. [Jul 2015, p.83]

Producer Thomas Bartlett enlists the likes of Rob Moose and Brett Devendorf to add sharp edges to the Australian's singer's dreaminess. [Jul 2012, p.83]

The sense is of a band confirming their place as among the most enterprising in the genre. [Jan 2022, p.27]

Folds' heady tunes sparkle in these unconventional settings. [Oct 2015, p.75]

Guitarists Rich Robinson and Marc Ford, bassist Sven Pipien and the three seasoned players they've recruited stretch out stylistically on the sequel. [Nov 2019, p.28]

Half of a worthy comeback. [Oct 2016, p.25]

Barwuick's reliably beautiful voice sits at the back of the mix, observing the shimmering sonic haze below her. [Sep 2012, p.81]

A perfect introduction to a musician currently in full stride. [Oct 2012, p.71]

More suited to contemplation and drift than dance, perhaps, and with Gavin Bryars-like strings and low-level electronics making the 11 pieces more voluptuous than ever. [Oct 2014, p.67]

It fizzes with pent-up power and singalong choruses. [Jan 2018, p.18]

Despite the familiarity, Infinite Summer has a heart, and could probably melt permafrost with a single playing. [Nov 2016, p.79]

As with most ambient works, English's LP plays best as a set piece, through gauzy, soft-gushing epic "V" is a particular beauty. [Jan 2025, p.34]

Ultimately, it's an album rooted in the constant collision of rock and pop. [Aug 2020, p.27]