Deerhoof's skittish collages always, miraculously, have a pop logic to them, and their desire to show that experimental music can be playful rather than forbidding is often heroic. [Jul 2004, p.102]

While her new, synth-led turn can feel a little awkward - the keyboards on "Guardian Angel" overwhelm the tenderness of the song - there are moments, such as the sparks of synth noise on "Hum Menina", that fire her folk songs into another dimension. [Mar 2022, p.28]

The tense chemistry has been, to some degree, recaptured. [Oct 2014, p.68]

Snatches of flute, sax, and female vocal harmony vocals add sympathetic colour to these sad yet inquisitive songs. [Oct 2012, p.83]

Black Cherry this ain't, then. As a companion piece to its genius predecessor, though, Supernature iis planty to be going on with. [Sep 2005, p.108]

A fairly respectable blend of new and reworked older material, deconstructing vintage 1970s tracks like "Mr. Bassie" into airy melodica ripples and sinewy basslines. [May 2022, p.23]

There is an innocent, infectious charm and an impressively meticulous attention to detail on stand-out hypnagogic inner-space journeys like “Emotion Engine”, “Forever Chemicals” and “Post-Truth”. [Review of the Year 2024, p.37]

An occasional change of pace might be welcome, but the craftsmanship is beyond reproach; swings, yes, but those roundabouts. [May 2021, p.24]

A power-pop potpourri that falls between the Beatlesque formalism of Cotton Mather and the eruptive emotionality of Car Seat Headrest. [Mar 2019, p.34]

The sound remains satisfyingly Stax/Volt-centric yet also full of left-field touches. [May 2019, p.35]

Intriguing album. ... Lyrically, the prevailing atmosphere is reflective. [Jun 2017, p.28]

It broadly succeeds because her songs - worked on with R&B guv'nor Jai Paul and her father Pino, a seasoned session player, and siblings Rocco and Giancarla - are elegantly poised. [Apr 2024, p.38]

Phillips has released a dozen solo albums characterised by a vivid lyricism and a rootsy, melodic sensibility, paired with the ability to throw in an unconventional chord so the song never goes quite where you expect. Those qualities are as strong as ever on In The Hour Of Dust. [Oct 2025, p.31]

There’s avintage, spooked quality to the dreamlike “Woke Up And No Feet” and “What Doesn’t Work What Does” as she layers and edits her vocals, filling in gaps with piano and guitar, to create ahighly alluring portrait. [Jun 2024, p.30]

They sound refreshed again here, even if their classy, Music From Big Pink-inspired roots-rock has changed little from the default settings established by their brilliant debut August And Everything After 20 years ago. [Oct 2014, p.69]

Too often the music from both sessions provides little more than gauzy atmosphere, lacking the drive and purpose of previous albums. But Cash is a deft singer and evocative songwriter. [Nov 2018, p.25]

Occasionally it can feel like you’re listening to in-jokes playing on repeat, but good tunes like “Eight Minute Machines” (Sleaford Mods, 1978) and “Twitchin’ In The Kitchen” (“It’s Tricky” repurposed for drug users) emerge from the funky environs with characterful fuzz intact. [May 2022, p.36]

Although A Hundred Miles Off doesn't always score a bullseye, its vibrancy and colour win through. [Oct 2006, p.133]

It is impressive on a technical level. [Jan 2015, p.76]

The songs here are mostly sparse and reflective. [May 2020, p.27]

These are strong songs, only occasionally hampered by the over-ripe allegorical nonsense advertized in the album's title. [Mar 2014, p.85]

Louis O'Bryen and Asha Lorenz paint a drunker, more heartbroken picture of twentysomething romance on this downbeat sequel. [Nov 2022, p.36]

Despite flashes of intense beauty, the going is heavy. [Jul 2018, p.30]

It's self-improvised and often raw, but bursting with vim and surprise. [Jun 2014, p.80]

Throughout his three-decade career, E has brought a hushed beauty to the act of staring into the abyss, and his use of space on EELS TIME! (all caps for added irony) makes this lonely guy seem that much more lost in space. [Jul 2024, p.32]

The first four tracks are moody, post-rock instrumentals, but elsewhere filthy, squalling guitars and a meaty swing dominate. [Oct 2016, p.40]

A set of eloquently sombre, Americana songs heavy on pedal and lap-steel. [Jul 2016, p.79]

Music Must Destroy finds original members Segs Jennings and David Ruffy in reassuringly rude health, bludgeoning their way through a bunch of songs that weld punk and metal. [Dec 2016, p.37]