McFarlane paints elegant, jazz-literate shapes over digital beats, syncopated hand drums and glitchy systems noise.[Sep 2020, p.32]

Cox's wistful croon and a proto-motorik chug are as wonderfully deadly as ever. [Jun 2013, p.71]

This is old-time spiritual soul shot through with urgent, electric energy. [Jul 2016, p.79]

At times all this vim can slip into noise. [Jul 2012, p.74]

Addresses the stained beauty of all things LA via psychedelic washes of keys, honking sax and country stomp. [May 2004, p.100]

Whereas the band's grand ambitions have sometimes led to music that can feel unduly grandiose, "Uden Ansigt" and "Verden Forsvinder" mark a welcome return to the more intimately scaled music of their early years. [Nov 2019, p.25]

Aguayo always has heaps of ideas, some of which work brilliantly but more often than not, he finds himself stranded in a groove, unsure where to go next. [Aug 2013, p.67]

Exercises proves Silver is in good shape. [Sep 2012, p.74]

Entertainingly eccentric pop, even if at times it seems to pull in too many directions. [Jun 2006, p.103]

The songwriting is impressive throughout. [Dec 2012, p.79]

A couple of the more freeform screamers may be a holler too far for some ears, but there's no denying the passion and power of Bradley's formidable lungs. [Apr 2013, p.67]

Barlow's spiky, spindly diary entries remain an abject lesson for indie losers everywhere. [Jun 2019, p.34]

Lovett has gone (partly) socio-political with his third. [Sep 2020, p.35]

Hit singles are in short supply, but WIXIW has an atmospheric, immersive quality that puts one in mind of Kid A's soporific drift. [Jul 2012, p.77]

Blood Red Roses is as stylistically varied as its predecessors. [Nov 2018, p.37]

A sparky and honest mess. [Mar 2005, p.94]

Power's voice is improving with age, especially confident and commanding on the closing, psych-baroque "Birds Heading South". [Feb 2026, p.33]

[Rainford] was haled as a return to form, and Heavy Rain--an album of re-versions helmed by Sherwood accompanied by a suite of guests--feels similarly vital. [Jan 2020, p.28]

After the lackluster Touch, Mantasy at least captures the bonhomie that permeates the best releases from his house and techno label. [Nov 2012, p.77]

This is more than mere virtuoso performance. [Aug 2006, p.90]

Recorded live: there's a twisting, doomy intensity to these 10 instrumentals. [Dec 2014, p.73]

A very fine record, for sure, but Earle has a nagging habit of stopping just short of the hands-down classic he's capable of. [Feb 2015, p.78]

It's all well-crafted, but the end result can often sound like a slightly disjointed compilation album. [Feb 2013, p.70]

"Earth 1" demonstrates the band's ability to pursue any number of loopy tangents without losing the woozy charm that comes more strongly to the fore in the dreamier "Heaven 7". [Apr 2025, p.39]

Golden Hour doesn't carry quite the same bite as either 2015 predecessor Pageant Material or 2013's Sam Trailer Different Park, preferring a more loved-up vibe that favours pillowy sophisti-pop over bittersweet country. [May 2018, p.30]

Hookworms twist "The Sky Of all Places" into a Mary Chain approximation of Metal Machine Music and Factory Floor make desiccated disco mincemeat of "sink," while Loop guru Robert Hampson, Death In Vegas's Richard Fearless, Ride's Andy Bell and Mogwai's Stuart Braithwaite demonstrate the oldies' appetite for deconstruction.[Apr 2016, p.79]

Fandango, their fifth album, is built of the same stuff [as 2011's Buffalo], though with a grander sense of scope and ambition. [Jun 2013, p.78]

The Don Was-produced album proceeds at an unhurried pace, featuring Jackson Browne-like confessionals and Young-style, harmonica-accented shuffles. [Jul 2012, p.77]