The tracks range from the wiry and infectious to the outright transcendental, while some of the vocal effects evoke the sound of those early krautrock pioneer. [Oct 2021, p.31]

It's addictive, delirious and madcap, Martha turning anxiety into exuberance. [Aug 2016, p.78]

Neon Golden often comes on like a radical update of New Order's Lowlife period, where mournful guitar songs are integrated into a mesh of clicks, pops, glitches and samples. [Mar 2003, p.96]

While the unrelenting energy can be somewhat exhausting, it's hard not to get swept up. [Jul 2014, p.73]

An intriguing body of work. [Nov 2019, p.22]

Some songs skirt close to new age naivety, cloaked by subtle eco-critical blandishments--but Perhacs' quietly magnetic character and charm wins out, in the end. [Nov 2018, p.35]

It's impressive... but it will be interesting to see whether his undoubted talent will flourish beyond such a conceit. [Sep 2006, p.83]

Its eloquent yet unfussy nature and thoughtful arrangements are clear affirmation. [Aug 2022, p.33]

The Last Rider is another warm collection of bittersweet pop songs, alternately wistful and playful, freighted with memories of time and place. [May 2017, p.39]

"FBI" sounds like a comatose disco track being sung in a toilet, but the default position is a weirdly bluesy take on Krautrock. [May 2013, p.75]

It's unfortunate that these splendidly rumbustious tracks make the lumbering ballads even harder work by comparison. [May 2014, p.81]

In a genus so often characterised by grandiloquent gesturing, this is drama of the pensive and underplayed kind. [Jun 2013, p.74]

Their second studio album of 2021 has its own idiosyncratic mood board: mariachi horns on “The Bell Gets Out Of The Way”, a string section on “High In The Rain”, unsettling séance speak on “Razor Bug”. Triumphant closer “My (Limited) Engagement”, meanwhile, sounds like (yet another) outsider art tour de force for the primary school-turned-lo-fi visionary. Never indifferent, never quite the same. [Dec 2021, p.27]

The whole world's in crisis and Oozing Wound see no reason to ese off their righteous assault now, though their fifth flashes dark humour in titles. [Feb 2023, p.32]

This is the kind of roughed-up disco-not-disco that would have sold a ton when electroclash was all the rage. It might still. [Sep 2108, p.36]

As a cross-generational experiment, Kissin' Time works. [Apr 2002, p.110]

His is a gentler, pastoral treat. [Nov 2005, p.111]

Their most accessible and melodic yet. [Dec 2018, p.25]

"Ye Ye's" Chicago house snares and claps crop up throughout the record, turning the pretty "Lights" into a sweaty jack-fest and giving deranged effects of "Springs" a rigid framework. [Dec 2012, p.69]

Inspired, frustrating, wayward, indulgent, funny, heartfelt and eclectic, taken in one sitting it's far too much, like gorging on the most excessive turkey dinner with all the trimmings. [Jan 2013, p.97]

The instrumentations are the highlights. [Mar 2016, p.82]

Herbert enlisted more than 1000 extras to stitch together this patchwork of mournful classical music, keening choirs and parpy Brit-jazz. [Apr 2019, p.31]

A rather good LP of socially conscious R&B. [Sep 2021, p.46]

Arthur stacks his vocals throughout, while his arching guitars, concussive programmed drums and resounding handclaps interlock with Buck's springy rhythm beds. [Jul 2018, p.24]

Combined with the rich warm production, this results in a debut of largely seamless retro classic pop-rock. [Sep 2019, p.29]

The overall vibe is naturally more intimate than before. [Aug 2015, p.81]

A Letter Home illustrates that vagaries of sound quality can sometimes enhance the drama of a record, and rarely undermine the potency of a good song. [Jul 2014, p.68]

The Fever are shaping up as America's Franz Ferdinand, taking their cues from Buzzcocks and Wire. [Mar 2005, p.100]