This time around, Grammy-bagging mixer Tchad Blake has replace T-Bone Burnett as producer and brought added intimacy without sacrificing dreamy magnetism. [Sep 2002, p.103]

Like Arthur Russell, he marries such influences [of Steve Reich and Terry Riley] with an off-kilter pop sensibility. [Oct 2010, p.87]

The arrangements are reserved and understated throughout, gently cradling Merchant's strident but intimate voice. [May 2014, p.77]

This sequel is more focused and song-based. [Jul 2014, p.69]

It's another perfectly good Ty Segall album, full of perfectly good Ty Segall songs. [Nov 2021, p.32]

An almost comically seductive blend of luxe funk, disco strings (arranged by Owen Pallett) and analogue synths, which he pastiches with affection and elan. [Feb 2026, p.39]

There's a gleeful, shonky exuberance to this debut all their own. [Aug 2006, p.88]

They sizzle with verve and invention. [Jun 2005, p.98]

It's no disrespect to Chesnutt to observer that his songs sound better sung by Margo Timmins--the same could be said about anyone. [Mar 2011, p.86]

With Suicide's spooked primitivism and Depeche Mode's throbbing anguish as blueprints, Sartain's synthesised shock treatment is a compelling segue from his spartan rockin' past. [Mar 2016, p.78]

Static's production is bright and punchy, which has the unintended effect of sabotaging softer moments. [Jan 2014, p.73]

The wildcard element comes in the shape of thier guitarist, who makes much of this album sound as if Brian May had been airlifted into a Devendra Banhart recording session. Disconcerting, but really rather good. [Feb 2010, p.81]

These four compositions are not without precedent, but all push at conventions of melody, space, tonality, rhythm and timbre. [Jul 2011, p.90]

The Sea And The Cake's refusal to budge from their original MO for the last 14 years seems like an admirable show of restraint. [Nov 2008, p.119]

The Information often feels hygienised and missing some grit. [Nov 2006, p.100]

Mostly, he comes across as a one-man Arcade Fire. [Jan 2013, p.79]

Morrissey's rather affectless delivery drains any celebratory urge from "Grease." But "Sunday Morning" is a triumph. [Feb 2017, p.33]

The distinction between their sensibilities remain strikingly apparent. [May 2018, p.33]

'Cave Mouth' rocks with something of Fugazi's technical heft, while 'Perfect Fit' matches Penner's quavering vocals to dancing Klezmer piano and swells of cymbal. [Aug 2009, p.88]

Ten Songs keeps his audacious past and redemptive present in balance. [Aug 2015, p.89]

Uneven but mostly engaging third solo album. [Feb 2019, p.30]

The band's trademark guitars [are] so polished you can almost whiff the Mr Sheen. [Apr 2006, p.98]

Their habit of singing in close harmony can be pretty but leaves little room for interesting vocal interplay. [Aug 2013, p.68]

The beauty of the album is that it draws its charm from the natural collision of styles. [Feb 2015, p.74]

The heavier contemporary numbers hint at a fire still burning. [Sep 2015, p.93]

The best electro-pop debut since La Roux. [Jun 2012, p.80]

Blood, Looms, And Blooms finds the much-missed producer back on track after personal tragedy, peddling her strongest work to date. [Aug 2008, p.96]

As powerfully new wavey as 2009's Backspacer at the start but also a testament to the band's more oddball meandering elsewhere, the commitment of Eddie Vedder's delivery brings a veracity even to some of the more ponderous ballads that can be the band's mature years default position. [Nov 2013, p.76]