The trademark humour that seemed less prevalent as a result on 2018's Digital Garbage is satisfyingly back in evidence here, alongside agreeably ragged riffs and an admirable refusal to tighten up. [May 2023, p.31]

Laid-back and loose maybe, but neither lazy nor lacklustre. [Dec 2019, p.33]

Though these tracks are fluid and often meandering, they never lose their immersive, pulse-like groove. [Jul 2023, p.24]

Stills is dynamic vocally and instrumentally throughout, but the underutilised talent pool makes this document of what was incongruously dubbed The Memphis Horns Tour and odd curio that exemplifies the wigged-out extravagance of the era. [Jun 2023, p.49]

Hook-heavy hummability abounds, but most interesting are the newer "My Song" and "Let Me Go"--darkly atmospheric chunks of contemporary R&B/Hip-pop. [Oct 2013, p.68]

For intimacy and authenticity, less musical architecture often proves better. [Apr 2021, p.35]

The choral refrain of the title hook, meanwhile, imposes collectivity on the query--just about the only time on the whole of Storytone that the horizon stretches further than Neil's emotional backyard. [Dec 2014, p.79]

Uneven but mostly engaging third solo album. [Feb 2019, p.30]

This psych soundworld demands full sensory immersion, but once inside there's much to enjoy. [Mar 2017, p.32]

It might skirt the edges of twee but the follow-up to 2010's Die Stadt Muzikanten darkens and deepens as it unfolds. [Mar 2013, p.79]

It's every bit as immediate and listenable as it is confident, and more buoyant overall than the sombre Modern Vampires.... It's also flighty and so wide-ranging, at times it reads like a future compilation rather than the next step from a band now into their imperial phase. [June 2019, p.35]

Fiction's first album is comprised of sweet things shamelessly pilfered from the early '80s pop pick'n'mix. [Apr 2013, p.71]

The evening set is more dynamic. [Jun 2017, p.23]

The musicians' off-the-cuff interaction animates cartoonish songs like the boisterous "Burgundy Suit" and the woozy "Sharktooth", but Mccaughey's flights of fancy occasionally tumble into relatable coherence. [Jun 2025, p.35]

"Tired" and "A Couple Highs" rather drag their feet, but the freewheeling "Lies" and terrific title track easily compensate. [Jul 2019, p.34]

Unsurprisingly, the comp is most interesting in its lesser-known material found between bigger names. [Aug 2019, p.51]

They're masterfully groovy and mysterious, at times malevolent, panoramas with a potency that simultaneously historical and futuristic. [Sep 2019, p.27]

An elegantly spare showcase for her radiant voice, a tremulous yodel tinged with gospel and country inflections. [May 2023, p.31]

A little over-joyous for most, but a fair achievement regardless. [Oct 2014, p.73]

Savage Times inevitably captures the tenor of its times as the Left Coast watched America turn rightward. [Mar 2017, p.26]

Girl At The End Of The World extends and advances on its predecessor's spirited reboot. [Apr 2016, p.74]

True to form, Love And War contains its share of impeccably wrought arena-country singalongs, like "Last Time For Everything" and "One Beer Can," along with the occasional bite at expectations, and the hands that feed him. [Jul 2017, p.36]

The spacious, stereo-panning "binaural" sound mix works particularly well as a headphones album. [Dec 2022, p.29]

They've delivered a less disposable, more reflective and yes "mature" set with their latest. [May 2015, p.83]

This second album feels less mannered than 2010 debut Fields. [Jun 2013, p.75]

[Clemintine] has a rich, resonant baritone which adds gravitas to every note. It is also, perhaps, a trick to his songwriting: there are big truths about love, self, family and identity buried in this collection, but Clemintine is careful to keep the details to himself. [Jan 2023, p.17]

It moves at a cracking pace, its 10 concise songs picked clean of fluff and with their sugar content much reduced. [Jul 2014, p.74]

Fragments could have been made any time in the last 25 [years], yet the down-tempo warmth, tasteful orchestrations and immaculate production are still a winning combination. [Feb 2022, p.26]