Ignore the arch titles and you'll find some lovely psych pastiches. [Jun 2012, p.69]

This still-teenage quartet writes heady songs that luxuriate in bubbling electronics, lagoon-diving reverb and layered harmonies. [Jun 2011, p.79]

The 19 tracks revisited here constitute a mixed bag, ranging from imaginative reinventions to faithful recreations. [Aug 2011, p.100]

Not unpleasant, but not likely to persuade the previously unpersuaded. [Nov 2017, p.39]

Peaches still bangs, in more ways than one. No Lube So rude, her first album in a decade, drips with fluids, fragrances and various viscera. [Mar 2026, p.36]

The best and the worst thing about these, as with the rest of the album, is that it's impossible to think of a better descriptive adjective than "Cohenesque." [Oct 2016, p.40]

It's bombastic, but you can't fault its ambitions. [Jun 2007, p.115]

This live set sees them mash the Kraftwek-ed likes of 'Aerodynamic' and 'Robot Rock' into the girlfriend-on-your-shoulders set that's seen them own 2007's festival season, at least for anyone more interested in decks than guitars. [Dec 2007, p.89]

He's at his best here on the playful Beck-like 'Hurricane' and the sweetly mournful 'Rope of Sand,' but Jamiroquai-averse listeners would do well to avoid 'Figure Me Out.' [May 2008, p.102]

As with their third album, Can and Silver Apples are referenced, but there are additional moments here to please fans of both Terry Riley and Battles alike. [Dec 2008, p.94]

Folila is an unhappy attempt to amalgamate two records, one that mostly swamps their playful sound with noisy overlays. [May 2012, p.65]

Universal High usually depends more on mood than focus. A little more of the latter and it would be almost perfect. [Aug 2017, p.26]

Nothing on Take The High Road isn't impeccable, but equally little is surprising. [Jul 2011, p.79]

it's another kaleidoscopic exploration of neo-psych and garage. [Apr 2023, p.24]

Like most of their work, it all sounds teasingly familiar. [Jun 2005, p.97]

There's nothing eruptive here: effects-drenched guitars, synths and electronics conjure a hushed, hypnotic ebb and flow that's bleakly comforting if over familiar. [Mar 2019, p.34]

It's well-crafted, but clunky. [Feb 2012, p.105]

This is a more low-key collection. [Feb 2012, p.94]

Their The Fool traces out similar shapes as east coast cousins Effi Briest: dreamy, faintly pagan psychedelia, their tumbling vocal harmonies, undercut by inexorable, tidal bass. Their softly-softly approach does breed some earworms, though. [Dec 2010, p.104]

For the most part, there's nothing wrong with the lyrics. "Do Unto Others" is a fine secular hymn, while "January Song" has some smart digs at the Tea Party, but, in both cases, the voice never convinces. [Apr 2013, p.80]

There's nothing quite as forward looking here. [Oct 2009, p.102]

It features vernal song titles and sleeve imagery, in contrast to the half-whispered, wintery beauty of their last LP, which was echoed by its snowy cover scene. [Jul 2010, p.108]

It's not as striking as its predecessor. [Dec 2015, p.75]

An oddly uneven set. [Nov 2013, p.67]

Fabricius presides over a judicious mix of Urban Outfitters indie, finger-picked folk and offbeat electro that demonstrate her range and leaves the listener drowning in honey. [Nov 2013, p.76]

Lyrically, the rose-tinted specs are off but sonically it has a romantic, decidedly retro bent, with reverb and (fine) vocal harmonies wrapped around songs that recall Shangri-Las, a stripped-back Lush and a less morose Cowboy Junkies. [Mar 2020, p.33]

A splendid showcase of their cavalier eclecticism, [Feb 2012, p.105]

On its own merits, rather a hoot. [Jan 2011, p.83]