Gibson's follow-up to 2016's Empire Builder finds her tinkering with the complexion of her sound, bringing piano and strings to the surface, mostly at the expense of guitar. It turns out to be a clever fit for the songs. [Nov 2018, p.29]

Mostly it's ambient background music in search of a movie, but standout moments include the sinister Marricone guitars on "The Prairie" and the distorted tablas and minimalistic vibraphones on "Damascene Slap." [Mar 2020, p.33]

Album number nine sees them dipping into some slightly experimental territory. ... But they're at their best in slightly melancholic territory. [Apr 2020, p.33]

Rats On Rafts are shooting for something bold on their third LP. They land their shot too. [Mar 2021, p.35]

It still possesses a certain screwball charm, particularly the curdled croon of "I Don't Mind The Wait," but too often sounds like smug pastiche. [Nov 2021, p.30]

That unsubtle drive for huge hooks can sometimes be a bit exhausting, but tracks like "New Age Millennial Magic", the groovy "Feel The Change!" and "Demolition Song" come so loaded with good vibes it's hard not to smile. [Mar 2022, p.25]

The pair sparked and quickly knocked out an album that sounds years in the maturing. [Jul 2022, p.25]

He’s less distinctive-sounding on the Oasis-style anthemics of “Got To Let You Go” and “Never Said Goodbye”, however. The boyish high register of Bugg’s voice lends itself most effectively to a certain ’60s beat group sound, which helps “All Kinds Of People” and the La’s-style rumble of “Breakout” get pulses racing more effectively. [Dec 2024, p.32]

The covers from less celebrated acts support the premise most intriguingly. [Jul 2025, p.49]

There's little on the pair's ninth album that will surprise longtime admirers; rather, Plaid play to their strengths. [Aug 2016, p.80]

The good news is that Something Shines also enriches her puritanical sonic palette with lush instrumentation, mid-song tempo shifts and free-jazz digressions. [Oct 2014, p.77]

The raw poetic facade occasionally cracks, but there is something special here. [Mar 2006, p.88]

old Friends... flows as a set piece but there are standouts. [Feb 2022, p.25]

A likeable, modest debut. [Oct 2007, p.101]

Singer-guitarist Ian Felice brings real pathos to lucid tales of characters in various states of dissolution. [Jul 2016, p.74]

The tight knit trio waste nothing creating their dream dancefloor from sultry rhythms, mischievous drum beats and a glorious disco sheen. [Oct 2020, p.25]

Love and hope stay preciously rare yet infinitely possible, and this album’s guttering, guiding light. [Jul 2022, p.33]

Perhaps they should have been more democratic in the past, because this is a terrific record that plays to The Strokes; Strengths and also adds fresh colour to their palette. [Apr 2011, p.79]

It is uneasy listening. [Oct 2009, p.107]

[It] sees [MacKaye] playing to his weaknesses. [Dec 2006, p.106]

The intricacies and frustrations of relationships dominate, while the arrangements are kept crisp and simple. [Apr 2015, p.76]

For now, Lady, Give Me Your Key shows us some of the steps Buckley took, during a feverishly creative year, to pursue the totality of music.

A moody and restrained affair. [Oct 2005, p.108]

There's no denying the wind-rush thrill of the title track, nor the malevolent pull of "Fall Out Of Love," but you'd expect such a capable band to disguise their affection for MBV, Ride and Kitchens of Distinction rather better on their second album. [Jan 2014, p.78]

The songs are more direct and arrive with a harder edge [than 2012's Blood Speaks]. [May 2014, p.80]

The first four tracks are moody, post-rock instrumentals, but elsewhere filthy, squalling guitars and a meaty swing dominate. [Oct 2016, p.40]

The results are as charming as they are accessible. [Feb 2003, p.86]

The album's eight supple, textured tunes suggest Cornelius stripped of his art-jazz awkwardness, or even the molten sugar rush of My Bloody Valentine slowed to a beatific calm. [Nov 2002, p.128]