[An] unassumingly seductive set. [Apr 2015, p.80]

Broder at times takes the overly tasteful route, sounding like an experimental Billy Joel, but also boldly strays into latterday Scott Walker terrain. [Jun 2016, p.73]

For the most part [Blossoms] Don't disappoint. [Sep 2016, p.69]

Co-producer Tucker Martine pulls out all the stops, building the tracks from subdued openings to majestic climaxes that support but never overpower Israel Nebeker's songs and vocals. [Oct 2016, p.26]

The best and the worst thing about these, as with the rest of the album, is that it's impossible to think of a better descriptive adjective than "Cohenesque." [Oct 2016, p.40]

Motorik grooves underpin the most bracing songs on the band's second effort. [Jul 2017, p.40]

[An] impressive solo debut. Largely focused on synths, it still leans on hypnotic, motorik rhythm, if more reflective than her band. [Jun 2018, p.37]

The Norwegian band's seventh album evokes the storms and swells of mid-period Bad Seeds and Crime & The City Solution. [Oct 2018, p.23]

The soft-rock paradigm with its classic Fleetwood Mac/Carole King references is self-limiting, but the songs are lucid and heartfelt in their graceful ruminations on the passage of time. [Sep 2019, p.34]

It's a polite, rather repressed formulation and the most appealing moments come when they go off-piste. [Dec 2019, p.32]

"Don't Worry 'Bout What I Do" get quite heavy-metally, while James takes tracks like the wah-wah-infused "This Is Who I Is" in a distinctly Hendrix-inspired direction. [Apr 2022, p.29]

Faithful and reverential throughout, there's nonetheless clear signs of Joe's own personality shining though. [Nov 2023, p.27]

It's only on the lengthy, ambient, vaporous "La Sirena" and the pretty, dramatic ballad "ICU" that everything gels together. [Dec 2023, p.31]

Landscape From Memory surges and pulses with emotionally charged, meticulously detailed, luminescent electronica that never panders to the gridded restrictions of conventional techno. [Aug 2025, p.37]

Zips from perky jazz runs to fragrant folk odes without breaking a sweat in the elusive search for the genre she can't own. [Nov 2025, p.36]

It's an impressively strong set of songs, diverse in both lyrical themes and musical styles, and delivered with a confident range of drama and empathy by a "heritage" act resolutely refusing to rest on his laurels. [Oct 2013, p.66]

The rhythm tracks are built up from finger bells and clicking wooden percussion, while each track is overlaid with wisps of koto or zither, which shimmer appealingly over the top, adding a touch of global gravitas. [Aug 2013, p.71]

Its hard-edged synth-punk is grittier and harsher this time around, perhaps their best collection since 2001's Danse Macabre.

This compellingly skewed mix of '60s neat, garage psych and country folk is business as (un)usual. [Oct 2012, p.86]

Emeralds and Oneohtrix may do this kind of hypnotic synth drone stuff better, but Blanck Mass is still a fairly potent concoction. [Jul 2011, p.77]

Some occasional local-band lyricism proves to be an Achilles Heel. [Sep 2005, p.108]

Shiver sometimes feels like a glitchcore sound collage, where ambient passages are ruptured by harsh beats and clamorous noise. [Nov 2020, p.31]

The second brilliant Scissor Sisters longplayer and the greatest album John/Taupin never made. [Oct 2006, p.96]

Trouble Anyway announces the arrival of an artist who fits neatly into no category but thrives in the inbetween. [Jan 2019, p.13]

As guitarist Russell Marsden steps aside to let bassist Emma Richardson sing, it's less White Stripes, more Brody Dale, but momentum is maintained. [Oct 2009, p.91]

Though feelings of disaffection inevitably colour Foam Island, a tentative optimistic note emerges in songs like the title track and "Stoke The Fire." [Nov 2015, p.73]

If Wolfgang Amadeus Phoenix was the album that gave Phoenix everything they'd always strived for, Bankrupt! is the record that finds them trying to come to terms with it all. [May 2013, p.80]

The synths and drum machines that supplant those albums' painstaking arrangements highlight robust songwriting underpinning standout "The Place I Live," while new vocal counter-melodies lift Elverum's "O Superman" choir out of the murk. [Dec 2013, p.70]