The Balance between deftness and density underpins much of the record, as light and airy as it is atmospheric and tactile. [Feb 2026, p,38]

It's the smart pop and clever arrangements of "Glance" and "Songbird (Forever)" that suggest Whitelands are in danger of evolving into a heavyweight proposition. [Feb 2026, p.39]

Curiously retro-sounding production and accompaniment. .... Her gift for infectious topline melodies manages to transcend such stylistic quirks. [Feb 2026, p.31]

Mostly, this is spry, melodic, and totally charming. [Aug 2012, p.79]

No frontiers are breached, but Mascis's cracked vocals and melancholic melodic turns only get more affecting with age. [Dec 2018, p.28]

For all its weird dissonance, Sermon...'s musical crudeness gives it a powerful immediacy. Strangely accessible and highly addictive, it's her best work in three decades. [Mar 2007, p.98]

McGuire's experiments with more conventional structures and arrangements don't always come off--the chuntering drum machines can makes things feel a little brisk and muzaky--but when he hits the spot, track titles like "In Search Of The Miraculous" don't seem too far-fetched. [Mar 2014, p.78]

Back On Time is restlessly inventive without being overwrought. [Feb 2012, p.97]

It's more fireside snooze than woodland romp. [Oct 2013, p.68]

Psychedelic beguilement a la Syd Barrett and Wyatt-ish pastoralism bent into eccentric shapes figure, but variety is key. [Feb 2019, p.30]

As irresistibly loopy and buoyantly Beefheartian as anything in Deerhoof's formidable back catalogue. [Jul 2020, p.29]

Lands as another Technicolor blast. [Jan 2022, p.22]

It's all a very respectable, and closer "P.I.G.S" is great, just slightly disappointing if one had hoped for more than acceptable continuity soundtracks. [Jun 2010, p.90]

Seldom can nostalgia have sounded so fresh on songs such as "Downhearted," "Try" and the exquisite slow burn of the title track. [Mar 2017, p.25]

The follow-up--featuring a mere 13 songs--is solid and functional, but lacks that inspired edge. [Aug 2008, p.106]

The bereft “Have Mercy On Me” and hopeful, lightly gospel “I Have Wandered All My Unending Days” are particularly striking, while the concluding 11-minute instrumental mix works as metaphor for Cave’s faith: immersive and foundational. [Jul 2022, p.25]

The vocals are muddied, but there are diamond-bright tunes here. [Oct 2009, p.95]

A brave endeavour. But unlike My Chemical Romance's Black Parade, Infinity On High has critically little sense of its own ridiculousness. [Mar 2007, p.79]

Always led by the miraculous voice of Ch'hom Nimol. So beautifully and effectively, in fact, that they end up giving fusion a good name. [Feb 2008, p.78]

The more spacious likes of "Comanche Moon" and "Life Song" suggest an ambition to nail a headline spot at the UFO Club, which may not boast much novelty a half-century after the fact, but can still elicit a contact high. [Jun 2017, p.23]

Beguiling if familiar thanks to the many echoes of Jessie Ware and Goldfrapp at their most forlorn. [Jan 2021, p.23]

The resulting hazy acoustic soundscapes are only a soft-shoe shuffle away from Caribou's neo-pyschedelia. [Dec 2008, p.108]

The singer runs out of steam in the second half, opting for a succession of cloying ballads that, despite her beguiling voice, leaves the listener unmoved. [Aug 2012, p.75]

Longer songs are punctuated by studio chatter, voicemails, birdsong and other ambient sounds, lending the whole project an artfully informal intimacy. [Sep 2022, p.32]

Much of Intriguer leaves one yearning for the unbound pop of "Now We're Getting Somewhere" or the straightforwardly confident balladry of "Better Be Home Soon." [Jul 2010, p.104]

This is a seasoned master of what he does operating in his comfort zone, and doing it very well indeed. [Dec 2015, p.66]

A heroic mutual soppiness is the key tot his dreamy two-tracker. [Jul 2016, p.74]

The best thing about Back Being Blue is that it sounds like Willis only stepped out for a few minutes. [Oct 2018, p.37]