A rockabilly Jesus And Mary Chain. [Mar 2003, p.114]

Their love batteries have all but corroded and instead we've hangovers and metropolitan psychosis over the kind of guttural guitars you'd expect from their bastard American offspring. [May 2003, p.89]

Brings to the surface all of the volatility and emotional charge that was inherent in their work. [Apr 2003, p.104]

Extremely mixed results. [May 2006, p.119]

It's occasionally redolent of Black Rebel Motorcycle Club, but the likes of 'Hornett' retain a heady, defiantly exploratory quality. [Dec 2008, p.92]

Old Money is rather more sharply honed--indeed, only the lack of vocals distinguishes this from a Mars Volta record. [Feb 2009, p.93]

Nowadays they're of more select appeal, and Where You Stand suggests they're actually quite comfortable with that. [Sep 2013, p.95]

Teaming up Oberhofer with veteran producer Steve Lillywhite seems to have drawn out an impressive sophistication. [Jun 2012, p.80]

"FBI" sounds like a comatose disco track being sung in a toilet, but the default position is a weirdly bluesy take on Krautrock. [May 2013, p.75]

It's good stuff, but also strangely nostalgic. [Nov 2008, p.117]

After a promising start, the LP soon defaults to a brand of quirky, over-stimulated electropop that doesn't really do justice to Woodhead's smart, conceptual lyrics. [May 2015, p.72]

Unquestionably the work of a band with ambitions rekindled. [Jul 2005, p.92]

The post-punkish synth-funk of "Pagliaccio" and the "Unchained Melody"-referencing 6/8-time epic "Saviour Self" adds variety, but beneath the sonic modernism lies an artist rather too eager to be Hot Chip's more earnest little brother. [Sep 2013, p.85]

Showing off a musical muscularity built up from three years on the road. [Feb 2020, p.35]

There's plenty here for fans of both gutbucket blues and the rampaging over genres and moods that long characterised The Residents. [Sep 2020, p.35]

He sings in a hushed, fragile whisper that is a;most unbearably personal. [Mar 2021, p.35]

Opens with three tracks that feature his street set-up and have the sparse rawness of Lomax’s 1930s Mississippi Delta recordings. The other eight tracks were recorded in a studio with a full band and bounce and ricochet with the joyous energy of the Bhundu Boys at their most exuberant. [Mar 2022, p.29]

That he can still write a timeless folk-rock melody is evident in songs such as "That Day Must Surely Come" and "After The Harvest", but the contemporary pop orthodoxy of the arrangements and production is disheartening. [Jan 2025, p.35]

This is best thought of as ‘country soul’. Isbell’s words, in style and content, are old-school tears-in-the-beer laments, deftly lightened by exquisite deadpan payoffs.

Bingham's steak-potatoes-and whiskey voice hardly makes for a smooth listen, but he pours plenty of passion and desperate visions into his ragged working-class grooves. [Oct 2012, p.73]

A rum selection of Zoom collaborations with everyone from Dua Lipa to Lil Nas X, that old keenness is still there, though only on "It's a Sin," his Brits team-up with Olly Alexander. [Dec 2021, p.29]

These are brilliant songs; but they simply reminds us of too many others who got there first. [Mar 2011, p.100]

This follow-up feels almost like business as usual. Luckily, there are a clutch of standout songs. [May 2016, p.75]

Only the urgent title song stands out amid nursery-rhyme emotions. [Jun 2005, p.110]

There's a twisted melancholy to vocalist Brooks Nielsen's lyrics on this third album. [May 2013, p.71]

Gulp's debut Season Sun is spooked set of crepuscular pop, a Moogie wonderland furnished with some very good songs. [Aug 2014, p.73]

Sadly, he doesn't have the material to match his delivery. [Jul 2019, p.27]

Combined with the rich warm production, this results in a debut of largely seamless retro classic pop-rock. [Sep 2019, p.29]