Suuns have never been slouches in the mutant kosmische department, but the John Congleton-produced Hold/Still blasts them into a new dimension. [Jun 2016, p.81]

Tasjan has a pop at contemporary politics on the crooning "The Truth Is So Hard To Believe," but is stronger when he tackles domestic concerns. [Oct 2018, p.34]

Musically this is arguably his most touching work since the early 2000s. [Oct 2019, p.27]

No less viscerally thrilling [than its predecessor] but pursues a number of ear-bogglingly unlikely paths. [Feb 2005, p.73]

Shows Lali Puna's more adventurous side. [Aug 2005, p.110]

It's frequently infuriating and sometimes amateurish, but nevertheless adds up to the most succinct introduction yet to the wonderul warped world of the Friedbergers. [Oct 2008, p.86]

The snarling Creedence-style rock is typical, but Golightly also does beautifully as a balladeer on "River Of Tears." [Jun 2011, p.85]

It's clear that if he wants to, he could easily command proceedings alongside his pals Walls and Four Tet. [Sep 2012, p.75]

It's a sequel of sorts to Democrazy, but sounds infinitely more accomplished--undoubtedly part of the technological point that he's making here. [Mar 2011, p.91]

Perfectly pleasant, but a little bloodless. [Jun 2012, p.80]

Immersive and claustrophobic, Ruby Red seems designed for solitary listening under headphones. [Aug 2013, p.72]

While he recreates his past modes, he can't recapture the audacious conceits or raptures of Liberation and Promenade. [Jul 2006, p.90]

In their own way and in their own time, it's progress. [Oct 2011, p.95]

The Brothers prove they can still poleaxe a dancefloor with a well-aimed barrage of strobe-ing electro-house.

Like its predecessor, the most impressive aspect of The Enemy Chorus is not so much the breadth of its references as the tumescent, head-spinning harmonies. [Feb 2007, p.74]

The pleasant surprise on their 15th album is how proficient they've become, without surrendering their innocence along the way. [Aug 2011, p.98]

Only on the superb, slow-burning "Gravity" does he really sound like himself. [Nov 2006, p.119]

Though Lucky One is his first collection of orginal material in seven years, it's still rooted firmly in Malo's familiar enthusiasms. [Apr 2009, p.91]

The less mannered material shines brightest. [Apr 2012, p.75]

Frankie Rose's 2012 tour de force Interstellar cuts the same fabric slightly more elegantly, maybe, but Blouse's frills are anything but cheap. [Dec 2013, p.65]

Andy Gill's guitar work is still distinctive and angular on tracks like "Toreador" and "Don't Ask Me," but the band seem intent on lending the old with the new. [May 2019, p.23]

Too often they sound like Sting fronting Counting Crows. [Jul 2009, p.93]

On Tomorrow, In A Year, The Knife have reinforced everything that makes them such a brilliant, endearing group. [Apr 2010, p.93]

His homespun take on soft rock and '80s Continental pop balances languid dreaminess with a subtle virtuosity. [Dec 2018, p.27]

Some of the beats do feel a little dated, and sometimes veer toward the rigidity of trip hop. [May 2012, p.69]

This stone-age jalopy has a definite theatrical charm--malevolent Nick Cave-ish narratives, vicious basslines, squally guitar and touches of honking saxophone, all executed with a visceral energy that's almost painful to behold. [May 2014, p.67]

On much of This Is Steve, he comes off as a one man jam band. [Feb 2017, p.24]

It's effective, but the lyrics and the slightly mannered vocals never really rise above the level of jokey pastiche. [Sep 2011, p.91]