Only on "Faces" and the concluding "Poolside" does the stifling fug of rock'n'pop traditionalism lift a little bit. [Jul 2010, p.108]

The mood here is uplifting and thankful – for family, friends, opportunity – as she mostly forgoes her usual country-folk stylings for something closer to R&B and impressionistic pop. [Jun 2021, p.28]

It may be a little too restrained in places, but this is a quietly confident debut. [Apr 2014, p.74]

There's nothing revelatory here, but it's good to see Hayes being so productive. [Feb 2015, p.77]

The visual-album version is the trippiest means of experiencing Ernest Greene's third full-length under his Washed Out moniker. Yet the music is sufficiently enthralling on its own. [Aug 2017, p.38]

Her husky drawl of a voice remains as precious and fragile as a chandelier, and it well suits these insidiously melodic, intimate songs. [Oct 2009, p.110]

It's neither pastiche nor parody, corralling '60s psychedelia, prog, Indian ragas, country rock, '50s lounge music and Javanese campursari into his vision. [Feb 2015, p.79]

Even if Lahs isn't quite the album Allah-Las believed they were making, it's still a minor marvel. [Nov 2019, p.21]

The lo-fi production means it can all sound a bit shrill. [Dec 2011, p.88]

All over the shop stylistically--but a keen handle on dynamics and narrative holds it all together. [Feb 2012, p.97]

It's Pollard in excelsis. [May 2017, p.32]

Over the course of a whole album, a little more ribaldry is required. [Aug 2014, p.81]

Although A Hundred Miles Off doesn't always score a bullseye, its vibrancy and colour win through. [Oct 2006, p.133]

Jemina Pearl's voice is compelling, ensuring Be Your Own Pet sound like a candy-coloured, pocket-sized Yeah Yeah Yeahs. [may 2008, p.87]

Often audacious, occasionally unpalatable. [Jun 2020, p.25]

From start to finish it's an anti-diva joy. [Apr 2006, p.110]

As ever, BBR's absinthe-flavoured acid drops give you a great deal more to suck on than the rest of pop's confectionery selection. [Mar 2003, p.112]

A sustained soft explosion of hushed, aching indietronica. [June 2003, p.91]

The album's polished sheen and lack of emotional focus may disappoint electro-trash devotees accustomed to low-rent sleaze and punky rawness. [Jun 2002, p.118]

It's a long time since we heard three-part harmonies as good as this from anyone. [Jun 2003, p.104]

A sensual, sumptuous overload. [Jan 2004, p.116]

Problematically for a singer-songwriter, Oberst drops personal feelings, wry asides and hip references equally lightly--ultimately, you're disinclined to believe anything he says at all. [Mar 2011, p.85]

Kings of Leon zeroed in on their gifts for visceral rock grooves and soaring hooks--lifting standout tracks on their sixth album to a Springsteen-like level of gritty grandeur. [Oct 2013, p.70]

The pair sometimes get slow and mellow, but the dominant tone is better expressed by the brattish beat explosion of 'Daylight,' the madly bleeping 'Don't Slow Down' or the clatteringly chaotic 'Cutdown.' [Sep 2009, p.86]

[Black's] bright, clear voice supported by lush soundscape of horns, strings and piano. [Sep 2015, p.81]

Songs unfold as complex relationships, with attendant euphoria, doubt and internal demons. [May 2005, p.112]

Fun, if inessential. [Aug 2011, p.93]

The Little Willies keep things gorgeously spartan, with barely an unnecessary note placed anywhere. [Feb 2012, p.93]