Other elements are more familiar, but this beguiling debut is never less than the sum of its parts. [Jul 2016, p.76]

Marking youthful reminiscence and the passage of time, WWW rocks with gleeful, guitar-driven, singsong abandon. [May 2016, p.78]

A moving collision of past and present. [Jun 2016, p.78]

Overnight is their most ambitious record, as well as their most accomplished. [Dec 2016, p.26]

Khouri acknowledges 1980s dreampop as a seminal influence, and perfumed traces of Galaxie 500, Mazzy Star and Cocteau Twins sweeten The Salted Air in almost every breath. [Feb 2017, p.30]

This follow-up to their 2014 debut blends antique-sounding folk tracks with glossier electronic numbers including "Die Young," which cocoons premature death in pretty harmonies, and "Kick Jump Twist," about the quest for instant fame. [Jun 2017, p.38]

Even if Mr. Dynamite sometimes feels like a light-hearted sideshow to more established musical careers, these moments of transcendence make the detour well worth while. [Apr 2018, p.32]

Though his jazz instincts can still send him into incantatory live orbit, all he wants here are the boyhood comforts of his early record collection. His voice remains admirably supple, though. [Jun 2018, p.33]

This post-genre approach allows them to take cumbia, mambo, porro, carnival music and ceremonial song, and mash it together in unpredictable and deeply psychedelic ways. [May 2018, p.35]

A record varied in tone and rhythm, capturing a band over 35 years in who are experimenting and sounding rejuvenated. [Sep 2018, p.32]

A certain oppressiveness is part of the design, but there are glimpses of beauty here, too. [Apr 2019, p.39

What is basically an update on the kind of blissed-out composite at which Andrew Gold used to excel. [Apr 2019, p.29]

Crafting a sound that is brash in its bigness, massive in its attack. [Mar 2020, p.29]

The overarching atmosphere is masterful, a sense of brimming anxiety that unites even as it unsettles. [Apr 2020, p.37]

Rarely bubbles over into the remarkable. [Sep 2020, p.25]

Sardonic opener “Down From London” showcases Caravan’s pop smarts, while they make complex fun on the title track, exploding into Steve Hillage-style Euro-rock around the nine-minute mark. [Dec 2021, p.25]

You can’t fault the songcraft , though, as “Dreams”’ romantic reverie and hooky freeway anthems such as “Can’t Stop The Rain” transcend Francis’ rather detached delivery. [Dec 2021, p.27]

Here, informed by the BLM movement, the lyrics on his third Black Radio LP are often mournful. ... Sometimes the mournfulness is sublime. [Apr 2022, p.32]

Island Family examines themes of identity, isolation and belonging against an endlessly inventive backdrop of sweeping electronica, clever samples and weirdy folk, sometimes strangely blissful and at others beat-driven and wakeful. [Apr 2022, p.32]

Dan Hyndman supplies a reliably cryptic stream of absurdist prattle, though his decision to stick with largely adlibbed lyrics robs Down Tools of some of the force and focus of last year’s excellent Lines Redacted. [Aug 2022, p.30]

Art Moore conjure up some compelling scenes on their debut. [Oct 2022, p.25]

The album largely struggles to match the buzz and momentum of its tone-setting opener. [Nov 2022, p.36]

It's more fully formed than his solo work but gathers the same sense of melody and arhythmic quirk on a series of Zappa-esque jazz-infused avant-pop songs, interspersed by the sunshine burst of lo-fi boppers. [Aug 2023, p.29]

Here it's his "Story Of An Artist", delivered with a disarming simplicity. With contributions from regular collaborators Jim James and Neko Case, the other eight songs are striking originals. [Aug 2023, p.38]

The pair share a fascination for esoterica and ritual, and it’s this impulse that powers their new collaboration, Jinxed By Being. [Aug 2024, p.40]

“The Wraith Behind Our Eyes” sounds like the kind of thing Ian Dury might have come up with if he’d been raised in sunny California, while the New Age jazz flourishes of tracks like “Threaded Dances” hit home what a unique concoction of flavours and sounds Izenberg has put together here. [Aug 2024, p.35]

There’s a suitably euphoric rush to tracks such as “Sun Come Up” and “Golden Hour” as McAlmont’s vocals soar gloriously over Dickson’s layered synths, the banging dance rhythms and surging choruses evoking Ibiza rather than California, Faithless rather than The Beach Boys. [Aug 2024, p.35]

It might seem late in the day to be claiming they’ve hit their stride, but Too Cold To Hold is the sound of a differently aspected and ultimately more satisfying Warmduscher. [Dec 2024, p.39]