Their fifh album reveals no radical stylistic shift. [Mar 2010, p.89]

Rarely bubbles over into the remarkable. [Sep 2020, p.25]

Moments of menacingly forlorn Velvet Undergound-meets-Hank Williams beauty. [Aug 2004, p.98]

This run would undoubtedly be shown to greater effect on a more succinct collection. [Feb 2004, p.86]

Sundfor's first for Bella Union suffers from an occasional excess of affectations, her melismatic vocal style an acquired taste. Fortunately, she's best at her most intimate, this sixth collection's dominate quality. [Sep 2017, p.38]

There's a commitment here to melody as much as left-field wrapping. [Nov 2004, p.105]

For this fifth album, she changes tack again, gaining in clarity what she loses in originality. [Aug 2011, p.94]

Slickness will sometimes tend to blandness here, it's true, but "Memories We Share" and "Black Rainbows" show that there's room for sugary drinks alongside LCD Soundsystem's hard liquor. [Nov 2017, p.26]

If there's a signpost that Cripple Crow isn't quite the record it could've been, it's that the most engaging moments here recall Banhart records past. [Oct 2005, p.96]

It's slightly pedestrian take on amped-up roots rock falls short of that particular bar {2008's Furr], but the rolling funk-blues of "When I'm Dying" is terrific, while the harrowing "Joanna" is a masterful piece of storytelling. [Jan 2018, p.18]

Little is overstated, but Low fans will find much to love in "New Lights For A Sky." [Feb 2014, p.80]

The mix of cryptic lyrics and childlike whimsy wears a little thin over the long haul. [Mar 2014, p.75]

Surprisingly, though, it's all a damn sight better than Velvet Revolver. [Sep 2009, p.81]

For the most part this is classic fuzzy heavy rock, bordering on self-parody but all done in good spirit. [Nov 2009, p.96]

Not exactly groundbreaking, but not reverentially retro either, and full of fizz and vigour. [Sep 2016, p.74]

Murphy muddles through the workmanlike art-rock of openers "Velocity Bird" and "See Saw Sway" before hitting confident stride on "I Spit Roses" And "Never Fall out." [Aug 2011, p.94]

The arrangements are meticulously layered rather than stripped down, dynamic drum tattoos, dramatic basslines and an epic amount of reverb ensuring the sounds is as panoramic as the "unplugged" tag can accommodate. [Dec 2016, p.37]

On the five tracks sung solely by the Blind Boys, the record comes off as Vernon intended.... By contrast, the remaining six, each featuring a contemporary guest artists, are problematic. [Dec 2013, p.65]

The band’s decision to keep things on more orthodox tap seems to have been accomplished at the expense of some of their spirit.

It is, like LA itself, heavy on style. [Sep 2008, p.88]

There are some cloying twee moments, but the players' telepathic interaction imbues even their slightest songs with crackling immediacy. [Nov 2022, p.36]

The album's polished sheen and lack of emotional focus may disappoint electro-trash devotees accustomed to low-rent sleaze and punky rawness. [Jun 2002, p.118]

A rich, rowdy and mostly rewarding listen.

The lyrics seem to be obsessed with mortality and the effect it has on families. [Feb 2018, p.23]

A set of instant, insistent--occasionally irritating--tunes. [Mar 2018, p.35]

With their stuttering beats, AutoTuned vocals and cheerfully foulmouthed lyrics, these genetically modified mongrel tunes are mostly misfires, which only makes them more intriguing. [Sep 2010, p.101]

It's Brown's voice that holds it all together. [Mar 2019, p.24]

There's a couple tunes that rise above the general lo-fi languor. But you get the feeling they could carry on like this, lost in unchanging adolescent reverie, forever. [Jun 2009, p.83]