These 19 tracks feel designed to float in a space between clear genre boundaries, somewhere purposefully undefined. [Nov 2011, p.106]

A discreet, quietly rapturous record. [Nov 2012, p.72]

His fourth solo album is structurally ambitious, obtuse and occasionally brilliant. [Nov 2012, p.83]

It can sometimes feel like a band trying on a variety of hats, although the songs themselves generally ring true, anthemic and delivered with a fistful of grit. [Apr 2020, p.30]

Never quite rises above the mundane. [Aug 2005, p.98]

Feeling more airbrushed than lo-fi. [Jul 2011, p.79]

Without notable emotional heft, however, the identikit cool and sub-Lana Del Rey poses prove wearisome, the cloying artifice insubstantial. [May 2017, p.39]

Lott croons plaintive lyrics over weaponised sci-fi soundscapes fizzing with post-dubstep beats, bleeps and electro-classical string flourishes. [Aug 2015, p.80]

Articulate, emotional and primed for the dancefloor. [Jan 2014, p.71]

While he doesn't quite kick like he used to, Weaver's lugubrious voice and ear for the creepiness inherent in old-time folk make for an engrossing listen. [Sep 2008, p.98]

On Subculture, The Selecter's dismay at the world is as powerful as ever. [Jul 2015, p.81]

No Scare careens between sunbaked Americana, dreamy melodicism and more aggressive moves that are less reminiscent of Walker's exploratory folk-rock than the full throttle pummelling of Rosaly's sides with jazz titan Peter Brotzmann. [Sep 2016, p.75]

His choices suit not only his rich, resonant baritone but also rich Machin's soul-and-gospel-heavy treatments. [Jan 2022, p.24]

This is something wholly unexpected. [Sep 2015, p.78]

These sparse, string-based scores straddle the line between wannabe ethereal and grainily earthy. [Jul 2002, p.106]

A magnificently rich and confident debut.... This is how Fischerspooner should have sounded. [Dec 2002, p.142]

[The album recalls] the warm, breezy charms of labelmates Beach house. [Mar 2012, p.92]

These dead-earnest takes are suffused with existential melancholy, as the group's feathery vocals bring uplift to the heavy emotional burden of the songs. [Mar 2014, p.71]

Their defining touchstones remain intact. [Jan 2016, p.81]

Right On! casts its own seductively austere shadow. [Jan 2016, p.77]

What's more surprising is just how good it all is, the tunes great, the mood fun, the album infectious. [Mar 2009, p.92]

He's hit the sweet spot between fresh and the familiar. [Aug 2016, p.83]

At times the elemental pounding can become an aural bludgeoning. [Oct 2014, p.80]

Despite being her most superficially conventional work to date it may be her most slow-burning, with less of the bricolage charm that distinguished the earlier work. [May 2009, p.89]

He is a talent with real musical depth. [Jul 2013, p.78]

All in all, A Thousand Miles is a diverting curio, but no substitute for the original. [Apr 2015, p.78]

Once a songwriter with a deft facility for catchy hooks, his melodies droop under the lethargic tempos, turning his self-deprecation into something like self-absorption. [Jan 2019, p.22]

Another generous serving of sparklingly cinematic guitar rock, largely inspired by (and dedicated to) band confidant, producer and musician Richard Swift, who died in 2018. But this is no sombre remembrance, rather a full-throttle celebration of the unifying power of music. [Oct 2020, p.29]