Delicate, desert-baked confessionals a plenty. [Nov 2020, p.33]

This self-titled debut is a joy. [Dec 2012, p.64]

It feels like Albarn in transit, both physically and mentally. [Aug 2018, p.27]

More intriguing are the songs that tap into Throwing Muses' vein of chiming offbeat indie-pop, familiar tales of teenage yearning elevated into something more glowing and magical. [Mar 2016, p.80]

Breathless power-pop offset by an innuendo-laden lyricism. [Mar 2006, p.98]

It manages to be forceful and intricate in equal amounts. [May 2006, p.129]

Drawing on every rhythmic tradition they can find and master, they corral impressive guests like Edan, Mr. Lif and Quantic to confound all expectations of contemporary funk LP. [Mar 2010, p.107]

If the second stash contains a suspicion that the best stuff got smoked first time around, the spirit and energy of the first record are still here in abundance. [Jan 2012, p.95]

Knapp's sweet voice is closer to Olivia Newton-John than [Stevie] Nicks, but nevertheless tracks like "Glasses High" and "The Right Place: have abundant charm, some superb, glowing arrangements. [Apr 2012, p.81]

Everything here is much as you'd expect. [Jul 2012, p.85]

Charmer plies the familiar recipe on a bed of pealing guitars and burbling synths. [Oct 2012, p.84]

You Should Be So Lucky is tailor-made for connoisseurs of musicianship at its headiest and most tasteful--the kind of record you're proud to own, matching the pride of all those who participated in its creation. [Mar 2014, p.68]

Menzies fuses his recent interest in classical work with glitchy dystopian techno, painting a nine-more-black picture that lurches between bruised James Blake and after-hours heroin party with no little elegance before ultimately losing its way in all the fog. [Feb 2016, p.80]

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

Though occasionally wearying in its frenzy, this is the best kind of world music, loud, liberating and explosively experimental. [Jun 2016, p.76]

Despite the occasional lapse into polished AOR, this is another classy, sassy step forward from a restlessly inventive pair. [Oct 2016, p.39]

It comes across, surprisingly, as a wildstyle update of the bricolage fusions Weatherall started out exploring in the early '90s. [Nov 2017, p.39]

Wave finds beauty in the belief that all's not lost. [Dec 2019, p.35]

Lush as it sometimes is, too often disappears into an indecipherable cloud of smoke. [Apr 2020, p.30]

Prime cuts like "Words" and "City In The Country" bristle with renewed vigour and clarity of purpose. [Jun 2020, p.30]

While the straight guitar-janglers sometimes border on generic, the eerie psych-rock incantation "Red Virginia Creeper" and the clanging, reverb-drenched barbs of "Charm And Tedium" prove more rewarding. [Jun 2020, p.29]

This is a marvellous collection of hooky acid rock that nods to UK '80s indie as well as '70s classic rock. [Mar 2024, p.32]

Echoes of early MGMT also haunt the like of "Delete Ya", but he's at his best when he lends a touch of falsetto-sung acoustic soul to "Potion" and "Fly" floats off into wistful wanderlust. [May 2025, p.29]

This is an engaging piece of minimalist minimalism: Steve Reich with a battering ram. [Oct 2015, p.71]

She's full of ideas on this sonically, adventurous effort. [Oct 2010, p.108]

As a reminder that music is fundamentally there for our pleasure, The Jazz Age is splendid. [Jan 2013, p.68]

The result is a lovingly recorded scrap of splendour and beauty that takes some of the more interesting elements of MMJ and runs with them in a series of unexpected directions. [Mar 2013, p.71]

Their debut to Sam & Dave is plain, but there;s as much Alabama Shakes and a pre-stadia Kings Of Leon too. [Oct 2015, p.81]