As an exercise in historical re-enactment it works just fine, but not everyone will want to stick around until Going Way Out...comes around again. [Nov 2007, p.104]

A double LP by name, but distant cousins rather than telepathic twins. [Feb 2020, p.33]

Ultimately the Barrs sound like themselves. [Dec 2014, p.71]

Infinite Arms is a neoclassic landmark that you'll need to get on vinyl. This is a record that begs to be flipped over and played again. [Jun 2010, p.93]

It is not hard to make fun of this band, even if you’re broadly sympathetic to their beliefs. But the atmosphere they create in their music is so heady, so insidious, so rooted in their environment and their Utopian ideals, that the whole package becomes compelling.

A much more orthodox, plaid-shirted affair that draws heavily from the early '70s. [Jan 2016, p.73]

Girl At The End Of The World extends and advances on its predecessor's spirited reboot. [Apr 2016, p.74]

The result is substantially more upbeat and cohesive--a West Coast take on Britpop. [Sep 2018, p.36]

The spine is provided by Smith's gentle, unforced voice and virtuosic fingerpicking but piano, subtle splashes of percussion and guest appearances recorded remotely by the milk Carton Kids, Bill Frisell and Lisa Hannigan add extra texture. [May 2021, p.32]

If the reggae-metal of "I'm Insecure" is a little club-footed, the charisma of her delivery still wins through. [Oct 2022, p.31]

The songwriter is in fine form--but it's sometimes hard to suppress doubts over the need for solo Pollard now GBV are back. [Apr 2012, p.83]

There's shades of both Stevie Nicks and Neko Case in Lissie's voice, a resplendent instrument that's both husky and mellow, attuned equally to the epic and the intimate. But Really the sound and songs here are a testament to her unaffected individuality. [Aug 2010, p.86]

[A] strong second album. [Mar 2015, p.73]

It's their dirty, lowdown rock pastiches that truly score.... A bona fide blast of ageless, pretension-free rock'n'roll. [Mar 2003, p.98]

They mix wistful, hook-laden rock songs in the vein of Counting Crows, Five For Fighting, The Gin Blossoms, The Posies and Pete Yorn with the proto-emo sound of Sunny Day Real Estate. [Aug 2002, p.104]

Deptford Goth's ghost R&B keens admiringly in the direction of Bon Iver and Active Child. [Apr 2013, p.69]

Lovely for a few songs, the narcoleptic, yet semi-cinematic visions risk homogeneity by the album's end. [Mar 2017, p.35]

Lively but also introspective, The House ultimately explores growth through personal reflection, while nestled in a cocoon of immersive electronics. [Feb 2018, p.30]

Five years on, New Orleans' Turk Dietrich and Michael Jones return with nine rather more conventionally structured songs than the nebulous, shapeshifting drones of their debut, Orange Language. [May 2011, p.79]

In many ways Clay Class is another helping of their broken blues and Stuckist infra-poetry, charting a Fallen landscape, stripped even of grotesque enchantment. [Feb 2012, p.97]

Their slick, mirthless approach and Roman Rappak's self-satisfied delivery threaten to turn Breton into Topman art-rock mannequins in the mould of Everything Everything and Alt-J. [Mar 2014, p.72]

Basement Jaxx still manage to exceed expectations with each album. [Oct 2009, p.91]

Given a fuzzed-out, subterranean production glaze, Butter filters everything from surf and lounge touches to Spaghetti Western flourishes, but is best when spinning cool pop hooks up out of the muck. [Oct 2012, p.87]

Too many of these frictionless Eurodisco makeweights only prove that great, urgent, heart-tugging electro-pop is easy to stimulate but difficult to pull off successfully. [Jun 2013, p.75]

Fuzz and reverb are everywhere, but The Soft Pack are also refreshingly unafraid of the sax solo. [Nov 2012, p.81]

They build on the West Coast blueprint for strung-out, psychotropic darkness, tracking back to The Crystals via Mary Chain and leaning heavily on the reverb and delay. However, it's hedonism, not retro homage that floats the Crocodiles' boat. [Jul 2009, p.84]

Overall it's a box-ticking collection unlikely to broaden her mainstream fanbase. [Nov 2018, p.37]

The dozen tunes here are sumptuous slices of bliss-pop with an art-punk edge. [Mar 2009, p.78]