It's business as usual for The Godfathers. [Mar 2017, p.30]

There are moments where the strings and backing vocals lurch into sickly sweet. But at least half of this album successfully unites two of America's greatest songwriters. [Oct 2010, p.109]

This is desert blues that doesn't just trudge into the horizon, but stops to admire the sunset. [Feb 2013, p.69]

The world-view is challenging and heart-felt, the playing deft, the conviction clear. [June 2008, p.88]

Predictably, it's all over the map, but The Golden Hour fizzes with invention. [July 2008, p.106]

Singles Collection Volume 3 betrays its genesis as something of a grab bag. [Apr 2014, p.94]

All pleasant enough, but much like its predecessor, Flux suffers from too much frictionless filler and too few actual dancefloor bangers. [Sep 2025, p.31]

It's all very becalming, but not quite the nu-psychedelic staging post that we were hoping for. [Jul 2012, p.79]

A curate's egg of tested pop styles.... Though hardly the album-length E-rush of career peak Tellin' Stories, this approach still offers small gems. [Jul 2004, p.101]

The whole work glides in one long, soft landing. [Apr 2022, p.35]

It can be quite hard to pin down what they’re trying to do. This makes Orchestra Hits curious, even if their mining of goth and the ’80s, with its attendant melodrama and gestural angst, isn’t always successful. [Oct 2024, p.41]

It strives shamelessly for the widescreen appeal of U2's Big Music. [Aug 2006, p.88]

There's an intriguing version of Michael Jackson's "Human Nature" and tunes by Monk and Ellington alongside originals that lurch from freaky modernism to stately classical. [Oct 2010, p.108]

Their selections here are a predictable roster of left-field rock dosed with Anglophilia. [Jan 2014, p.78]

There's a sense that he's doing little more than cobbling together offcuts from his recent stream of projects. [Dec 2008, p.105]

Headhunter's laboratory productions are probably just a bit too clinical to transcend their genre. [Jn 2008, p.96]

It's a faintly sparkling, wistful listen, where from her vocal monotone, you wonder if she's mocking those sexually stereotypical longings. Perhaps that's optimistic, but either way, it's satisfying that she's taken a different tack. [Mar 2011, p.98]

The vocals feel a bit hammily gothic at times but it’s a small complaint compared with the album’s intoxicating density. [Jul 2021, p.33]

While often inscrutable, it's seldom boring. [Jun 2006, p.110]

The RAA's narratives are as expansive as the prarie where singer-songwriter and guitarist Nils Edenloff grew up, but they're also full of resonnant, intimate detail. [Aug 2010, p.94]

Robbed of Godspeeds's crescendos, a melancholy gloom dominates. [Mar 2018, p.28]

Influenced by visual artist John Baldessari, Pure Beauty explores strange sonic vistas. [Apr 2018, p.35]

Red of Tooth & Claw sometimes feels too much like style over substance, but the best moments here are in the detail. [July 2008, p.106]

While there is no doubting the power of Marc Ribot’s off-kilter twanging or the noirish density of the music, the songs don’t really work on their own.

"Runaway" and "Head Into Tomorrow" sound like the songs that Joy Division might have written if they'd hung out with Ewan MacColl. Good, but slightly disorienting. [Nov 2009, p. 81]

She still refuses to knock up any memorable tunes, but arthouse divas thus obsessed with ghosts and personal (if ill-described) demons are always fascinating. [Jun 2003, p.109]

Their eight album of earnest, limpid lullabies is notable once again for the spangled guitar of long-term collaborator, Ghost's Michio Kurihana. [Jun 2011, p.80]

Accomplished rather than exciting. [Jul 2015, p.83]