Dent May favours freewheeling, psych-funk pop that nods at The Beach Boys and The Carpenters, but adds notes of samba, mariachi and '50s lounge music. [Nov 2013, p.69]

His second Daptone album swings like Sam Cooke, sways with rocksteady cool, and is as stylishly '60s as a pair of fur-lined Chelsea boots. [Mar 2018, p.27]

Is by turns light, sunny and soulful, if a bit self-satisfied in places. [Feb 2025, p.34]

This 15-track album is daft, sprawling, naive and full of contradictions--but rarely less than entertaining. [Jun 2018, p.37]

The finest tracks here update the duo's attitude as well as their sound, dissecting anew cultural and emotional climate with a bittersweet detachment reminiscent of the Pet Shop Boys. [Oct 2002, p.124]

A touch of monotony creeps in, although they keep it at bay through sheer volume on the closing, eight-minute "Harpooned." [Jun 2015, p.84]

It feels like a meeting of worlds. [Feb 2023, p.25]

There's nothing profound about Electric Version. But classic pop has seldom sounded so much fun. [Jun 2003, p.98]

It's a record this restless artist can settle into and build on as he continues to mature, because it solves his chronic problems while presenting huim with a newfound sweet spot. [Jul 2014, p.82]

Nothing wildly new here, yet Cutler's full-time escapist fantasy is pretty persuasive. [Jan 2022, p.30]

This pairing with the UK Soothsayers collective proves an easy fit, framing Campbell's precise, melodic vocals with intricate horn-led arrangements and adding judicious dub effects. [Aug 2013, p.69]

Peyroux's smoky, Holiday-esque voice has seldom sounded finer as the trio's jazzy ambience is lent a wonderful natural reverb by the vaulting acoustics. [Nov 2016, p.35]

A more concise affair [than II], with only one of its six tracks over eight minutes. It's also more laid-back. [Jan 2021, p.28]

As noise records go, it's a thing of relative restraint, and enjoyable in its own way. [Jan 2016, p.81]

The result sees them maintain high energy levels while showing off a richer musical palette and a keener sense of flow. [Sep 2023, p.31]

The blend of early Cure and gnarly grunge of "Soft Like A Flower" produces an indie-ish racket, the dance pulse of "Wild Times" and the smoky brass curling around "Golden" show new facets to her sound that work just as well. [Nov 2023, p.26]

There's often a giddy, even ecstatic feel to Pierce's exercises in personal exorcism, one that connects the exuberant indie-pop that was The Drums' stock and trade during their breakout a decade ago with his more smiths-y and synth-laden music here. [Dec 2023, p.28]

Ejimiwe has made a record filled with quiet bubbling tension yet also leaves room for lightness, offering a glimmer of hope amid the brooding dread. [Jun 2020, p.29]

The duo's sophisticated feel fro arrangement, the primary point of interest, is on display throughout. [Feb 2014, p.71]

A series of convoluted psych-pop romps, some drizzled with synth-sax, that perplex and please in equal measure. [Jun 2016, p.76]

Their fondness for 17-minute improvisations demand a certain stamina, but there's a strung-out beauty to Infinity Machines that eases you in gently. [May 2015, p.73]

The dentist-drill whine of Klachefsky's voice will scare off all but the hardy, but Boats rock regardless. [Jul 2013, p.71]

The end result is something that's freaky and funny, as rigorously experimental as it is gleefully entertaining. [Sep 2015, p.82]

Kikagaku Moyo sound more assured than ever on this fourth album. [Nov 2018, p.32]

"Bodies" and "Sludge" bring some metal chops to the show, but experimentalism comes in the shape of "Giraffe", based around a beat by David Sitek. [Feb 2026, p.31]

Their defining touchstones remain intact. [Jan 2016, p.81]

It's a credible step back into the ring after years on the ropes. [Apr 2013, p.66]

While some of N.E.W. feels a little undercooked, there are also fantastic moments. [May 2015, p.71]