Listening to the ramalama of "Slow Drip" and "Hot Tubes" you can't help but cheer them on. [Nov 2010, p.102]

Anhedönia's gifts for storytelling - part Flannery O'Connor, part David Lynch - are compelling enough, but the music is equally stunning, a mix of shoegaze, gothic country and doom metal. [Sep 2025, p.29]

These 12 songs have a resonance that's deep and wide, examining intimate/romantic connections and their power to wound and confuse, as well as relationships in the broader contexts of existential identity and being fused to a genealogical history. [Apr 2019, p.38]

Their angsty post-rock elements have been largely superseded by quivering/rousing chamber pop reminiscent of early Arcade fire and Florence + The Machine, yet a weird emotional intensity remains - along with a talent for self-mythology that inspires audible devotion in an excitable crowd. [Jul 2023, p.23]

This sequel similarly mixes hard country and mountain music, memorably on Harlan Howard's "Busted" and a plaintive "Half Over You." [Feb 2010, p.93]

A surreal sense of the macabre in everyday life remains their MO, from "Skunks"' shuffling crawl space inhabitants to the winged appetites of the softly intoned "Mothballs". [Oct 2023, p.29]

As steel guitar groans and floats away like dying stars at the close and Raymond bends drones to her will, John Cale's singular Welsh spirit feels near. [Oct 2025, p.32]

The record's feel, like West's College Dropout, offers a rich jukebox of gospel-tinged R&B flavours over which Common scatters his gems. [Aug 2005, p.97]

While there is some noodling with electronica, it's the understated melodies that linger. [Oct 2011, p.93]

Soul Time! is another thrilling homage to the glory days of Motown and Stax. [Dec 2011, p.87]

Producer Ross Orton helps sharpen their attack, and the quartet are at their very best on "White Rooms And People's" fierce synth-funk, the Suicide-like "Tomorrow" and the thudding grooves of Valleys." [Nov 2020, p.37]

It's the smoother, almost surfy, tones of tracks like "Deep Infatuation" and "Earl & Duke" that offer a pleasing change of tone from the familiar indie racket. [Dec 2020, p.29]

It's a nuanced handling of some of her recent song obsessions. [Jan 2021, p.27]

More pastoralism wouldn't go astray, but Centralia is very charming. [Feb 2013, p.77]

The songs, reworked with producer Patrick Hyland over a three-year period, shapeshift in time to the lyrics. [Mar 2022, p.32]

This is a stunning album, bristling with astute and funny words, glorious tunes and delivered in performances all the more impressive for sounding so utterly effortless. [Mar 2008, p.80]

The Hunter feels purposely immediate. [Nov 2011, p.93]

Another triumph for the post-classical scene. [Oct 2011, p.81]

The core trio of Chris Gunst, Brent Rademaker and Farmer Dave Scher, plus various friends, excel on the breezy optimism of “Falling Forever”, while the mellow vibes of “Faded Glory” recall Teenage Fanclub at their sunniest. [Aug 2024, p.31]

Songhoy Blues take the fusion of West African desert rhythms and rock'n'roll a further step down the road trodden so thrillingly by Tinariwen. [Mar 2015, p.81]

It's a bittersweet study of fate and circumstance that resonates long after it's over. [Apr 2016, p.70]

A set which is at times whimsical, and frequently dark--sometimes managing to combine these sensations. [Apr 2017, p.39]

Great stuff. More please. [May 2021, p.27]

The music is tight and telepathic. [Nov 2011, p.90]

It is his most beguiling release yet. [May 2010, p.85]

This is the album Lynne should've made after I Am.... [Nov 2003, p.120]

In just over 35 minutes, the Bonnie Prince's mastery of form, blend of gentle awe and trembling sweetness are distilled to their essence. [Album of the Month, Feb 2003, p.74]

A sinewy mix of punk, dub, soul, good tunes and classic guy-rock. [Mar 2004, p.87]