Yes, it's an unchallenging and even deeply conservative record. But its class is positively aristocratic. [Mar 2004, p.99]

Deeply disappointing. [Jul 2003, p.114]

Enon inhabit a multi-coloured Seventies soaring pop universe but with... emphasis on crunching guitar breaks, electronic textures and skewed lyrics. [Sep 2002, p.118]

Surprises are reassuringly thin on the ground here, but the quality of Ubovich's psych-tinged ramalams, mostly delivered at Ramones speed, is high. [Dec 2014, p.77]

The Breeders are a popular choice, covered by Bradford Cox, Big Thief and Tune-Yards (whose "Cannonball" is almost as fun as the original. [Jun 2021, p.33]

The textures are deliberately synthesised, but the songs themselves couldn't be realer. [Oct 2018, p.34]

Replete with the sort of shimmering, hypnagogic textures that characterises his solo work. [Feb 2020, p.30]

The Devil, You + Me is no milestone of experimentation, but The Notwist win extra points with their emotional restraint, lyrical maturity and elegantly complex arrangements. [Aug 2008, p.101]

The results are frequently bewitching, if blatantly nostalgic. [Nov 2015, p.76]

Switchback rhythms and artfully tangled melodies make it hard to pin them down. [Nov 2017, p.35]

So while it can get a bit too diffuse and self consciously complex, when the quartet breaks into something gorgeous (like the joyous tagliatelle of guitars that wriggles and wrinkles through "Uda Hah") you'll suspend your cynicism. [Jan 2010, p. 124]

The mood is heavy throughout, but only the closing, exhausted "Katla" outstays its welcome. [Jun 2013, p.81]

Slipstream relies on Bonnie;'s voice and slide playing--and, above all, her felicitous ability to pick the right song. [May 2012, p.80]

Textured and complex. [Oct 2002, p.108]

The 19 tracks revisited here constitute a mixed bag, ranging from imaginative reinventions to faithful recreations. [Aug 2011, p.100]

A triumph of sample-based, groove-cutting rap that shifts ground with every attempt to pin it down. [May 2004, p.106]

The mood is sweet and slightly whacked-out as Cabic brings campfire cheeriness to Norman Greenbaum;s 'Hook & Ladder' and wistful resilence to Ian (Fairport) Matthews' 'Road to Ronderlin.' [June 2008, p.109]

Absentee's Dan Michaelson proves he could give Lee Hazlewood and Mark Lanegan a run for their money, but its not just his voice that plumbs depths. [Oct 2008, p.81]

A splendid showcase of their cavalier eclecticism, [Feb 2012, p.105]

A beautiful, rather brave album, and by far her best. [Jul 2013, p.83]

Mon Pays draws defiant inspiration from the recent crisis in Mali. [Oct 2013, p.67]

Aventine remains pleasingly measured and minimal. [Oct 2013, p.72]

It's a bit Lenny Kravitz at times, but the excellence and ear-popping sound see Coffee through. [Jan 2014, p.72]

A lack-Qluster addition to the Roedelius catalogue, perhaps, but fascinating in its own way. [Apr 2016, p.79]

Bash & Pop's strong second album. [Aug 2017, p.25]

Guitarists Rich Robinson and Marc Ford, bassist Sven Pipien and the three seasoned players they've recruited stretch out stylistically on the sequel. [Nov 2019, p.28]

There’s little to be found here that doesn’t already sound inescapably familiar, but it’s perfectly rock-solid stuff all the same. [Oct 2022, p.25]

Fertita fashions 11 lean, mean garage-like tunes that frequently touch base with his work as a member of The Dead Weather. [Jan 2023, p.27]