In Dreams picks up the thread they’ve been weaving since their 2018 comeback, not too different from their ’90s form: shimmering, chipped guitars; resigned, mumbling vocals; a vague sense of astral longing. [Dec 2024, p.35]

Surprisingly invigorated. [May 2007, p.89]

If their third album doesn't exactly do anything new in the field, it is undoubtedly well observed. [Apr 2016, p.82]

This is raucous, relentless fun; in Parton’s own words, a musical “life raft” for shitty times. [Aug 2021, p.28]

It's much less obstreperous than most of their earlier works. [Jul 2016, p.76]

As ever, he's at his most engaging playing slide and singing in a gentle baritone on acoustic compositions such as "Go Down Ol' Hannah" and the title track. [Jan 2026, p.27]

While there's a shining beauty that recalls Stereolab and The Sugarcubes, the mood is overwhelmingly melancholic and extremely infectuious. [Dec 2016, p.35]

Yet for all its attributes, this fine debut stirs as much for its sense of what The Lumineers may yet become as for what they currently are. [Dec 2012, p.70]

Conor O'Brien's luminous, emotionally resonant songs suit the warmth and intimacy of a live setting. [Feb 2016, p.84]

Breezy and agreeable though it all is, it mostly reminds how nice it would be to hear something new of The Lemonheads' own. [Mar 2019, p.30]

Often these widescreen productions are more effective at the most minimal. [Mar 2016, p.76]

Pond Scum is an archive project, albeit one delivered with all the caginess we expect from this most capricious of singer-songwriters. [Apr 2016, p.90]

Rich and evocative, The Race For Space is the sound of two young men gazing heavenwards and dreaming. [Mar 2015, p.80]

For the first half of The Republic he extracts effervescent hisses and trills from his gear, fashioning a fragrant if unremarkable video score, while in the final section he lets loose, relatively speaking. [Mar 2015, p.80]

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 Word pick up where they left off on their 2001 self-titled debut. [Jun 2015, p.84]

For the most part, this is a short, sharp and generally satisfying voyage into Ash's heady past. [Jul 2015, p.71]

The result is a bold but difficult record, dogged but a little hard to love. [Sep 2018, p.25]

This is a meaty-sounding affair. [Dec 2017, p.30]

Low on cheer, but richly rewarding. [Dec 2016, p.38]

They've regrouped impressively here. [Jul 2026, p.26]

Not quite a full house, but not far off. [Jul 2026, p.31]

Whispering Trees presents rain-sodden English romanticism of the Nick drake/Bill Fay school occasionally ramped up to cosmic proportions with the help of the Radar Brothers' effects units. [Feb 2013, p.78]

Every song on New Material has a one-word title that captures a mood--"Disarray," "Decompose," "Doubt" are typical--while tunes like "Manipulation" and "Solace" have a propulsive relentless but also melodic ease that are something like a funkier War On Drugs. [Apr 2018, p.32]

You need a surfeit of great songs to justify a double album in these attention deficit times, but Malin seems to have them by the bucketful. [Jan 2022, p.27]

Moskowitz takes the role of wise guide, ruminating on life and the cosmos with a grandmotherly warmth. [Apr 2023, p.32]

Good vibes are much in abundance. [Dec 2021, p.31]

Even if the production pores over old memories, when they fire on all cylinders the combination of their best MCs creates more than a nostalgia trip. [Dec 2017, p.33]