The fifth season might be more art piece than album, but is no less intriguing because of it. [Oct 2020, p.32]

There's excitement her in 'ATX' and the title track, but when the bluster's died down, disappointingly little is left. [Oct 2009, p.89]

Their best work moves beyond pastiche into broader sonic terrain. [Feb 2015, p.82]

A communicable joy in weird noise. [Sep 2018, p.35]

Keren-Ann Zeidal has been covered by Jane Birkin and Francoise Hardy, but here progresses from chansons to create a spectacularly produced pop-art. [Apr 2011, p.85]

A fascinating document of exactly how far he's travelled. [May 2005, p.117]

He can't muster much more than a compose-by-numbers Boards Of Canada kit that's destined for little more than wildlife documentary syndication. [Mar 2005, p.102]

Since rising to attention with 2009's Me Oh My, Cate Le Bon has turned out four albums of arch, otherworldly guitar pop, of which Crab Day is surely the best yet. [May 2016, p.75]

Baez's worn voice retains its majesty, and also the sanctimony that has set so many teeth on edge over the years. [Oct 2008, p.81]

Shadow Of The Sun includes strong takes on the familiar Johnson Schtick of Spacemen 3 throb and ambulatory guitar solos. [Apr 2015, p.80]

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]

The follow-up [to 2009's Warm Heart Of Africa] is similarly energetic and eclectic. [Aug 2012, p.83]

The pair specialise in primitive house tracks drizzled with acid, which work best when one of their male vocalists drawls sweet nothings deep in the mix. [Sep 2019, p.33]

There's so much tunefully wild enjoyment on offer it's hard to pick highlights. [Jul 2010, p.110]

The album's languid pace and lack of real bite often renders it a little pedestrian. [Dec 2015, p.69]

The resultant raggedy, in-the-moment feel suits the Neil Young-ish "Show Me" and harmonica-hinged "Guardian Well," as well as "I've Got Reason," less so "Feel It All," which drags its feet over five minutes. "Lost A year" is a sax-assisted winner, though. [Nov 2019, p.24]

A late flowering triumph. [Jul 2010, p.117]

The effects are over-stylised, however, rendering her impressive vocals precocious, ad the uniformly mid-paced tempos can become wearying. [Aug 2015, p.80]

Utterly thrilling. [Sep 2020, p.32]

Old Punch Card is surprising and, at points, quite brilliant--it'll make your ears double-take. [Nov 2010, p.97]

It has an effortless momentum and addictive melodic pull that renders serious criticism redundant. [Dec 2012, p.73]

The Way is a terrific, club-attuned set that renders them barely recognizable. [Jun 2014, p.83]

Inevitably, youthful anger has been replaced by pettier bourgeois concerns (traffic wardens, the congestion charge), but there’s a sensitivity and playfulness that’s still hugely endearing.

An obsessively dark record. [Oct 2012, p.79]

Sinclair's knack for storytelling, wordplay and a warm voice carry sufficient wit and energy to ride the jazzy undercurrent. [Apr 2014, p.81]

The musicianship is exemplary throughout, with a stronger focus on roots traditionalism on "The Traveller" and "Ships At Sea." [Aug 2014, p.71]

His voice of loss is shrouded in inventive production. [Dec 2015, p.74]

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