Bjork's vocals are a hypnotic midnight whisper, a continuation of Medulla's vocal layering techniques. [Sep 2005, p.117]

The resulting LP is a shambling, intermittently engaging sprawl, the songs jammed with verbiage, the lead vocals spread among the principals, most of whom make Oberst's frayed, wobbly singing seem Bono-esque by comparison. The LP's saving grace is the dexterous playing of the ensemble. [Jun 2009, p.95]

Music at its most passionate. [Sep 2002, p.112]

Recalls the more amusing moments of Momus and Stereolab. [Nov 2002, p.116]

Casts them as confident modern classicists. [Dec 2003, p.126]

Their drowsy lullabies and minor-key melodies are now so commonplace... that much of it seems unremarkable. [Dec 2005, p.109]

Songs like 'Turkey Sandwich' are nothing new, exactly, but win out on guts. [Jul 2009, p.91]

The BFB have constructed thier new LP around the theme of "being nice to people," although their lyrics drip with irony and thier musical tone is gruff. [May 2009, p.79]

Jeniferever rise above cliches with 10 beautiful songs that take the Sigur Rose blueprint and expand on it. [May 2009, p.89]

While a large proportion of these Swords are decidedly blunt blades, a few could have easily found a place on a greatest hits.

Still present is a populist edge that, while occasionally somewhat saccharine, shakes out some great choruses. [Feb 2010, p.90]

Their debut is a good deal more engaging thgan any number of Bloc Party or Daeth Cab For Cutie comparisons might imply, however apt. [Mar 2010, p.88]

The resultant music is quite compelling. [Oct 2010, p.101]

Hawk's followup hints at a talent that will outlive hipster buzz, drawing not just from hazy '80s nostalgia, but from the artists who populated his own youth. [Aug 2011, p.93]

There are echoes of Jenny Lewis or perhaps the Swedish pop of Hello Saferide, but the mix of sass and vulnerability adds a melancholy air to the understated twang of "It's Our Time." [Nov 2011, p.94]

Music For Confluence lacks imagination and dynamic, with gentle fuzz and weak violin failing to conjure any sort of atmosphere. [Jan 2012, p.81]

It's certainly easy to believe that these sublime pieces could have inspired such a profound reaction [from director Cameron Crowe]. [Apr 2012, p.81]

Phantom Limb mine a solid seam of Southern soul, rock, country, and gospel. [Mar 2012, p.97]

Deez's second album ups the wonky'n'witty ante with out sacrificing heart or tunes. [Mar 2013, p.70]

His talent remains unquestionable, even when drawing on a six-hour, piano dominated Abbey Road session. [Mar 2013, p.72]

The sole new composition, "Prungen," is a funked-out blast of galloping synth arpeggios, while the terrific "Music! Dance! Drama!" fires up a cyclotron of raucous electro-punk fanfares and weapons-grade xylophone riffs. [Jul 2013, p.77]

[An] ambitious, stylish left-turn. [Feb 2014, p.72]

It's all delivered with gusto and buckets of charm. [Jan 2014, p.76]

While everything is played with gusto and the songs themselves are well constructed, the album perhaps lacks enough surprises or detours from its sturdy formula to make it especially memorable. [May 2014, p.80]

This is another uplifting, honest set. [Apr 2014, p.71]

A clutch of the group's best songs are strangely omitted from the setlist, while slower numbers like "Beneath Wild Wings" tend to expose a lack of subtlety. But at full pelt, Howlin Rain are a match for anyone. [May 2014, p.76]

Cosmic trim to these sturdy songs is mostly provided by keys man Adam MacDougall; odd, though, that his Moog gurgles are often closer to '70s novelty records than anything more notionally psych. [May 2014, p.78]

They're best when dialing it down a few notches. [May 2015, p.75]