It represents Lauderdale travelling full circle, coming 30 years after his first recordings with bluegrass legend Roland white, but with a few of the flourishes he brought to Elvis Costello's recent touring outfit The Sugarcanes. [Oct 2011, p.91]

The lack of ironic twists is both slightly unsettling and hugely refreshing. [Apr 2016, p.83]

Levy's lo-fi sonic palette and dreamy, speak-sung vocals hint at intimacy, her creative use of sound effects and electronics the mark of an archivist. [Oct 2021, p.29]

They continue to find some clever ways to do a pretty dumb thing. [Jul 2007, p.112]

[El-P's] sinister, scarified industrial noise and beats bring a grimly thrilling dimension. [Jul 2006, p.102]

This is their sixth album and inevitably some jazzy ostentation has crept in, but generally there's a warm, graceful fluidity to Skit I Allt's billowing jams that remains uniquely beguiling. [Oct 2010, p.94]

Not even this collaboration's most thunderous moments detract from the quieter power of the singer's frank, free-associative lyrics. [Apr 2016, p.74]

They recreate the mood and spirit of seriously wiggy space-prog excavations. [Apr 2017, p.35]

Talkie Talkie benefits from a sharpening of focus even if the instrumental foursome remain determined to recombine such normally disparate elements as sun-scorched psych, Caribbean rhythms, Turkish disco and the kind of rock bravura rarely captured outside of an ’80s movie soundtrack. [Oct 2024, p.31]

It's reliably hypnotic stuff, although the final two seemingly interminable tracks d o expose Stallones' rather rudimentary chops. [Sep 2011, p.96]

Rattle That Lock turns out to be a modest achievement for the most part. [Oct 2015, p.82]

Together, they've crafted a cerebral yet effortless vast and cinematic ode to love and new beginnings, one that splits the difference between shoegaze and synthpop. [Aug 2019, p.36]

Somewhat Gothic, but for all its dark corners, this debut gleams with a pop lustre. [Jun 2011, p.77]

The Dead Weather is another slightly unsatisfying fling alongside The Raconteurs. [Jul 2009, p.84]

"Lately" is a wonderfully uplifting finale to a finely conceived record, an eloquent testament to an unlikely partnership that's only now delivering its full potential. [Sep 2010, p.97]

Eyes may be on the US market, but the honesty of Parks' expression holds. [Jul 2023, p.33]

An unexpectedly excellent set of sinuous and sensual techno. [Nov 2014, p.76]

It's when they seemingly reach straight down the devil's throat, as on the ferocious "Deacon Brodie," a strangled punk/blues bottleneck, that this debut really distinguishes itself. [Dec 2015, p.81]

Generally the result is kind of Stars In Their Eyes Amy Winehouse. [Aug 2018, p.33]

Most divine is Knxwledge's production on "Make Ya Say Yie," with its twisted brass sample. [Nov 2020, p.27]

Invigorating results. [Oct 2021, p.27]

Giske spins the likes of “Cruising” and “Void” into bold extended pieces that are gripping in their poignancy and intensity. [Dec 2021, p.27]

Wolfe's voice prominent on the shimmering "Hopelessly At Ease" and tremolo-bathed "Shhh", recalling Julee Cruise;s otherworldly work. .... Elsewhere, there's an edge. [Jul 2025, p.27]

Though Requiem doesn't quite match the free-flowing intensity of some of Goat's earlier work, it's continually enriched by a fervent sense of joy and abandon, and an infectious eagerness to get lost in music. [Nov 2016, p.28]

Madlib stretches out impressively without vocalists to contain him, but you sense the real bangers have been saved for another occasion. [Jun 2006, p.106]

Burns and Convertino prove they can play it relatively straight, without sacrificing Calexico's hard-earned status as a band that matters. [May 2006, p.104]

A beguiling mix made more loveable by its melancholic core. [Aug 2006, p.100]

This four-track mini-album is something of a departure from [previous works, this is] a relatively straightforward, stripped down techno work with a few mischievous touches. [June 2008, p.88]