The emphaiss here is on standalone songs, with each bandmember apparently harking back to teenage memories. [Dec 2012, p.73]

Here he takes four songs from each album and adds a trio of covers to demonstrate their strengths, recasting them as campfire acoustic ditties. This allows some of their lyrical directness to shine through. [Jan 2015, p.76]

A hugely accomplished and banging debut LP. [Apr 2015, p.76]

They've delivered a less disposable, more reflective and yes "mature" set with their latest. [May 2015, p.83]

Atheist's Cornea fares best when shooting for extremes. [Sep 2015, p.73]

It's an upbeat trip down the boardwalk. [Jun 2019, p.30]

They're masterfully groovy and mysterious, at times malevolent, panoramas with a potency that simultaneously historical and futuristic. [Sep 2019, p.27]

He roams a palette of solo guitar modes, from Sonic Youth-y harmonics, through melodic lines, all slight but identifiable his own. [Mar 2022, p.32]

As LaFarge tells it, Rhumba Country is partly the tunes he hummed to himself while reaping and sowing. Fine tunes they are as well. [May 2024, p.35]

If that means she sometimes leans into apparently clichéd sentiments on “Keep Calm Carry On”, “Do Or Die”, the Buddhism-evoking “Om Shanti Om” or even her gossamer-soft cover of Dire Straits’ “Why Worry”, her whispery vocal style, often accompanied by plucked acoustic guitar and understated strings, still captivates. [Jun 2024, p.30]

Alas, it often sounds like hollow noise--but improves when he warms down. [May 2011, p.92]

Waterhouse's big lunged holler is efficiently exciting, but his debut album isn't so much -- 12 songs, but 12 variants on the same song. [Jul 2012, p.85]

Tough, yet seductive. [Oct 2016, p.40]

It begins as stormy Sabbath-inflected psych, but later takes some knowing stylistic detours. [Oct 2015, p.84]

Gorgeously warm, forlorn and wounded. [Mar 2004, p.95]

It's the originals that resonate, contrasting with a featherweight cover of Townes van Zandt's "Waiting Around To Die." [Mar 2003, p.97]

Mind you, you're still left wondering why they made a covers album. [Mar 2002, p.96]

This chiming indie-folk LP is uncluttered and cohesive. [July 2002, p.118]

With Ween, nothing is done by halves. [Nov 2003, p.126]

When LAMB is good, it's very good indeed.... It's one of the most audacioius pop albums of the year. [Jan 2005, p.120]

Despite the contemporary sheen too much here is reminiscent of a certain kind of overwrought mid-80s synthpop. [Sep 2012, p.87]

While it all sometimes gets a little too soporific, the overall effect is undeniably seductive. [Jun 2017, p.34]

Tracks like 'Knickerbocker' or 'Pussyfooting' are complemented by David Best's whispering voice intoning gibberish lyrics and rhythmic vocal tics over maddeningly catchy riffs. [Oct 2008, p.90]

Cherish The Light Years is more accomplished, refashioning vintage Mute Records sounds into widescreen pop. [May 2011, p.80]

Beacons Of Ancestorship is rather unlovely beast, sagging under the weight of hoary synths, lumbering dynamics and improvisatory formlessness--not to mention high expectations. [Jul 2009, p.101]

His latest, Bella, is laden with sumptuous melodies and mordant wit. [Feb 2011, p.103]

An unusually poetic songwriter revelling in his proximity to nature. [Jan 2012, p.88]

What it sometimes lacks in surprise, it makes up for in consistency. [Mar 2020, p.30]