The Church are, against the odds, still a dreamily appealing proposition. [Mar 2004, p.100]

The result is a hushed, spectral delight. [Jul 2018, p.37]

Very much a Van Morrison album, and a pretty decent Van Morrison album at that, tapping into that apparently inextinguishable reservoir of muscular yet crotchety blues. [Dec 2019, p.30]

Thankfully, there's more than just wannabe Fall stuff here, offering up a variety of teeth-rattling noises. [Jan 2021, p.32]

A small-hours gem. [Jun 2006, p.100]

Barbara Barbara... makes explicit the band's influence, as well as their core strengths. [Apr 2016, p.81]

Both are versatile players, and while "Tonight The Bottle Wins Again" is a swaggering blues, Harper leans towards Otis Redding on "When Love Is Not Enough." [May 2018, p.28]

It's beautifully played, and Earle's songs are respectful of their heritage while (mostly) sufficiently confident and idiosyncratic to transcend pastiche. It's just difficult to believe this is the best imaginable use of Earle's time and talent. [Mar 2015, p.72]

These nine tracks find the foursome reworking a suite of folk and roots songs with their trademark chilly decorum, joined by a brace of Nonesuch labelmates. [Jul 2017, p.32]

Cigars all around for these sludge-metal/grunge veterans, then, with a set that values hand-on-heart appreciation over novelty. [May 2013, p.74]

Musically more diverse, and lyrically as vulnerable as it is vitriolic. [Jun 2003, p.91]

The result is a richly produced album of breezy, melodic and infectious indie-rock with hooks galore. [May 2024, p.31]

At times you're left craving some of the eerie minimalism of El-P's classical Cannibal Ox Productions. [Jul 2012, p.71]

Solid song structure replaces ambient abstraction... ranges across Latino jazz, stadium rock, soul and pastoral glitch. [Jun 2004, p.86]

Nothing about their sixth album sounds like business as usual. Refreshed by time spent independently exploring their own musical interests (Ansell electronica and production work; Carter an Americana-inspired solo album) and inspired by true crime documentaries and podcasts, the duo sought to explore the darker side of the human psyche, leaning into haunted house synth lines and gothic horror bass. [Feb 2022, p.25]

Lilies is a succinct affair, albeit one of often similarly unearthly pleasures. [Dec 2017, p.25]

An understated, often truly lovely debut. [Apr 2006, p.106]

For much of the album, there's a poppy ebullience reminiscent of the MTV-friendly '80s Elton. [Mar 2016, p.70]

Wallflower is quintessential adult pop, with solid if predictable selections. [Nov 2014, p.76]

Even by Deftones standards, their eighth album is hardly immediate. [May 2016, p.71]

A sweetly sprawling album. [Sep 2020, p.32]

A quietly eloquent, simply persuasive record that chimes well with the current taste for bucolic abstraction, and moves Rhodes forward. [Aug 2016, p.79]

He's honest about uncertainties both personal and political. [Nov 2021, p.25]

If the meandering electronic maelstroms of “Letter To My Daughter” and “Waking Up” don’t have the melodic hooks to gain the same traction, there’s a bewitching feel to it all that endures nonetheless. [Jun 2024, p.29]

It's hypnotic and mind-altering, like a fruitful collision between Boredoms, Neu! and the Grateful Dead. [Jul 2013, p.78]

While a little lacking in variation, it’s a most welcome return for a band who have come out of retirement but still know how to land a punch. [Sep 2024, p.36]

A quality love letter to the music he committed to early on. At times, it's hard not to wish he'd been bolder and a little less faithful. [Feb 2021, p.36]

Features eight lengthy original instrumentals, om which his guitar playing is as vibrant and virtuosic as ever. [Mar 2026, p.34]