Stiff flirts with mainstream etiquette--Ethan Johns produces--before resorting to the sort of hyperdriven, math-tinged choogles that have served the band so well over six albums. [Apr 2016, p.82]

A bewitching record. [Jul 2012, p.82]

This is an all-American band, but there are nods to the rhythmic sophistication coming out of London's jazz scene. [Sep 2020, p.34]

The third installment is almost shockingly concise at 30 minutes. ... Hearing one of the group's freewheeling jams coalesce into "Bel Air" 10 minutes into the proceedings still sparks a frisson of recognition that makes the series so exhilarating. [Nov 2022, p.46]

While lyrics like "this is the hottest summer I can ever remember 'cause the world is on fire" leave little to the imagination, the final product is hard to dislike. [Aug 2023, p.26]

It's honest and immediate, but predictable. [Apr 2015, p.73]

There are times when, while applauding Springsteen's attempts to stay faithful to the originals, you wish he'd taken more chance. ... But that was not his intention, and it becomes hard to carp when he brings off something as triumphantly as his note-perfect version of Frank Wilson's "Do I Love You (Indeed I Do)". [Jan 2023, p.10]

This is the most powerful, literate and just plain individual British debut album since The Streets' Original Pirate Material. [Jul 2006, p.94]

The likes of Khruangbin, St Vincent, fhoebe Bridgers and Josh Homme spice up Macca’s songs in their idiosyncratic fashion, while a few improve the originals. [Jun 2021, p.28]

The album tends toward generic, blocky sci-fi-tronic. [Sep 2013, p.90]

Stratton's accessible but deep-rooted approach embraces a barbed undertow in opener "Light Blue," while dashing arrangements--slivers of stringed wonder deployed to resonate effect on "Vanishing Class"--illuminates his songwriting craft. [Jun 2017, p.37]

Wig Out At Jagbags presents Malkmus at his most eager to please. That it does so while still honoring his idiosyncrasies makes it a particular delight to behold. [Feb 2014, p.82]

Love Is The Plan sits just fine alongside his other records. [May 2012, p.67]

They never outstay their welcome or settle into anything as complacent as a groove, leaving nothing behind but a sugary residue and a feeling of faint violation. [Jan 2016, p.80]

He dips toes in the blues, country, R&B and rockabilly without ever really grabbing your attention. [Jun 2019, p.27]

As catchy as it is smart. [Jul 2017, p.28]

All round, a party atmosphere prevails--and undoubtedly a good time is had by all.

There are traces of Rio's fantastic lipglossed silliness, but overall the arty party pop of All You Need IS now feels like an attempt to rescue a venerable British band long damaged by poor decisions. [Mar 2011, p.88]

Seductively decaddent, but a feeling that The Raveonettes are living on borrowed time persists. [Nov 2009, p.99]

More polished than 2012's ragged debut, Acousmatic Sorcery. [Oct 2013, p.63]

Timelessly scented, you can almost smell the joss sticks. [Mar 2015, p.76]

Despite the familiarity, Infinite Summer has a heart, and could probably melt permafrost with a single playing. [Nov 2016, p.79]

Ultimately, the delight is in the details, notably the pairing of Hawthorne's fluent basslines and the trashcan thump of ancient drum machines. [Jun 2016, p.74]

On Reflection can't make any grand claims to originality, but charms with its clarity and light. [Jan 2019, p.25]

This wonderful record already feels like a cult classic. [Feb 2007, p.88]

Vocalist Tim Kinsella strikes an intriguing balance between raw emotion and lyrical enigma. [Jun 2014, p.82]

Even by his own standard, the conceptual breadth and sonic dexterity of Jhelli Beam dazzle. [Sep 2009, p.79]

The album's highlight comes when "I See You" wiggles free of its '90s indie-disco mooring and shoots at the moon; Luminous could have done with a few more of those moments. [Jun 2014, p.78]