Sunny funk pours from most tracks, veiling the odd lyric about single moms, and the slowies are lit by noble torches. [Jun 2003, p.104]

As wilfully indulgent as it is breathtakingly advanced. [Apr 2004, p.101]

[An] intimate, woody collection of fractured folk. [Nov 2004, p.120]

Spend The Night emerges as the dumb-riffed album Courtney Love tried to make with Celebrity Skin. [May 2003, p.94]

A slightly disappointing attempt to hammer their quirks into a more commercial rock shape. [May 2004, p.99]

Mostly Kin is a deeply rewarding immersive experience. [Oct 2012, p.81]

Whether flirting with doo wop, mixing psych and a cappella gospel or channeling John Cage via TV On The Radio it charms at every turn. [Jan 2015, p.74]

These crafted tracks are built for dancefloor delirium, yet darkness and unsettlement abound, awkward elegance and cool beauty twinned with repetitious abandonment. [Sep 2016, p.74]

Nice, but not quite essential. [Jul 2017, p.40]

A certain gravitas is restored. [Sep 2019, p.46]

Opener "Ocean Mouth" is similarly enticing, as are the crystalline synth hooks of "Don't Believe It Now", as his singular approach to lo-fi dance pop continues to charm. [Sep 2023, p.28]

This is an exciting debut.

Short, but invigoratingly sweet. [Jun 2015, p.77]

Some tracks sail a little too far into MOR but Meiburg takes care to balance these out with more robust moments. [Mar 2010, p.95]

The Brutalist Bricks isn't quite the match of 2004's career highlight Shake The Streets. But "Gimmee The Wire" mixes punky, Mission Of Burma dynamics with a garrulous, troubadour storytelling, while "Bottles In Cork" unfolds as a bar-hopping travelogue as colorful as anything Craig Finn has put his pen to. [Jun 2010, p.92]

Out Of Touch may be sophisticated and complex, but it's also damned groovy, hugely heartfelt and packed ti the gunwales with fizzing tunes. [Feb 2013, p.71]

Traditionally, country music and club-derived electronics make for awkward bedfellows, but it's a testament to the strength of Gibson's strange vision that Me Moan might well become a touchstone of modern-day Americana. [Aug 2013, p.66]

Brilliance and beauty, abounding in equal measure. [Aug 2014, p.79]

The Mood is subdued but cavalier, more of a mixtape. [Nov 2016, p.24]

Folila is an unhappy attempt to amalgamate two records, one that mostly swamps their playful sound with noisy overlays. [May 2012, p.65]

It's a surprisingly varied record, the mood darkening towards the close, the band ever occasionally busting their habitual one-minute barrier. [May 2014, p.78]

The overall mood is The Band given Taylor Swift's budget, on heartfelt and easily wounded love songs. [Sep 2014, p.78]

Overall there's a sense of a moment having passed. [Oct 2006, p.123]

A substantial return to form. [Mar 2014, p.73]

It's the kind of listen whose rich but unfussy loveliness belies its deeply personal lyrics. [Dec 2021, p.24]

Boland’s previous releases (stretching back over 20 years) have only hinted at such levels of ambition, but The Light Saw Me is expertly realised, as playful as it is metaphysical.

The antic hippie of Banhart's early work is long gone on this depressed but not despairing record, warmed by the melancholy, spacy hush of his voice over drifting synths and the bass's heartbeat pulse. [Oct 2023, p.25]

At best superfluous, at worst that very thing he dreads most. Forgettable. [May 2005, p.113]