They have at times found themselves mired in over-fussy arrangements, but here recapture something of the crisp economy of their breakout 2007 LP ...Are The Dark Horse. [Feb 2016, p.73]

Unexpected digressions often invigorate their third full-length. [Apr 2020, p.28]

On occasion, the chintziness of the production undermines Maine's sentiment, but at least now he's learning to be himself. [Mar 2016, p.77]

Four of these tracks run well past the 10-minute mark and pack in an exhausting series of musical ideas that most artists would be content to spread more thinly over an entire album. [Mar 2014, p.79]

A couple of bratty, clunky bursts in the vein of the self-titled first album spoil the mood slightly. [May 2015, p.72]

It may be a little too restrained in places, but this is a quietly confident debut. [Apr 2014, p.74]

Her mother had died, but she had also found love. Musically, she's equally diverse. Mostly, there is the voice, a swooping instrument that swirls and eddies beneath sparse folk rhythms. [Jul 2018, p.24]

Its hard-edged synth-punk is grittier and harsher this time around, perhaps their best collection since 2001's Danse Macabre.

Antenna compresses the formula further, fetching up crisp, anthemic crunch-rock several notches above the inexplicably popular likes of Bush or Papa Roach. [May 2003, p.96]

Some of the tracks can sound exhaustingly out-of-phase, but such sonic wonkiness works brilliantly on the hypnotic thumb-piano minimalism of "Down And Out," the Afro-funk of "In Praise Of Homeboys" and the Congolese heavy metal of "The Ploughman." [Aug 2014, p.75]

The effervescent punk-pop of The Breeders is a touchstone, as is Kimya Dawson's ramshakle honesty, but "Lips And Limbs" affects a subtle country twang, while on the terrific "Blue Pt. II," skeletal acoustic acoustics and frank lyrics document a stagnating love affair. [Aug 2013, p.79]

An unabashed old-school West Coast rock'n'roll record. [Dec 2019, p.29]

Cool to the touch, but vanilla sweet as well. [Nov 2014, p.76]

The overall tone is bracingly sour but surprisingly accessible. [Apr 2006, p.98]

Inhabiting the same last-dance ballroom as Portishead's noir torch songs, this monument to ennui is prettily impressive. [Mar 2006, p.90]

La Futura sounds at times overly relaxed, but never less than a fun, frill-free ride. [Dec 2012, p.79]

With its detours into glam, Southern rock and pristine ’70s-style balladry, Ramble & Rave On! often feels like a celebratory jukebox of everything Gabbard holds dear. Fabulous fun it all is, too. [Dec 2024, p.33]

Like Tragedy & Geometry, it's awash in vintage synthesised sounds with which fans of Tangerine Dream and Ash Ra Tempel will be familiar, but remains considerably more concise than this (and its predecessor) suggests. [Jan 2013, p.77]

It's impressive the way the trio can seamlessly slip back into the Dead-like country-psych sound that defined the best of their '80s/'90s output. [Apr 2019, p.32]

[Super] has some darkly twinkling moments.... The rest is at the very least a reminder that PSBs remain a lively genre of their own creation. [May 2016, p.78]

Salad days is goofy but sweet guitar pop in the vein of Jonathan Richman, occasionally somewhat lightweight but delivered with a crooked smile that's quite endearing. [May 2014, p.73]

There's some fine original songwriting, particularly from Stills. [Jul 2016, p. 79]

Like coiled springs, this Manchester four-piece fire out jabs of tight pop-punk energy that seem created with the intention of filling an indie dancefloor. [Jul 2016, p.79]

This is an explicitly fallen world and yet, with its "Super-8 mote" and "temples of tragic skyscrapers", one of strange Lynchian wonder. [Jul 2025, p.31]

This is deluxe, bespoke, artisan electronica, only slightly marred by its high seriousness and lack of mischief. [Jul 2014, p.67]

The results are radical without losing sight of Garcia's original vision. [Dec 2021, p.27]

Physicalist feels like a heavyweight statement. [Nov 2016, p.26]

It's the smoother, almost surfy, tones of tracks like "Deep Infatuation" and "Earl & Duke" that offer a pleasing change of tone from the familiar indie racket. [Dec 2020, p.29]