Here are miasmic, dizzyingly gorgeous songs built on the grandest and most romantic, but steadied by the hand of hook-loving classicists. Bravo! [Mar 2010, p.90]

A 21st-century alienated soul album that slips the Eels back into your heart. [Jul 2003, p.120]

Fans of Curt Smith and Roland Orzabal will find more than enough reminders of their glory days. [Mar 2022, p.36]

Overnight is their most ambitious record, as well as their most accomplished. [Dec 2016, p.26]

Ben Glover makes his fifth album a bringing-it-all-back-home beauty. [Oct 2014, p.73]

An intriguing new artist has found his voice. [Nov 2012, p.76]

The overall mixture of anger and longing, fierceness and calm, is breathtaking. [Nov 2014, p.68]

Take Me To The Land Of Hell is one of Yoko Ono's strongest efforts. [Oct 2013, p.72]

Bad As Me is the sound of a supremely confident artist convening a raucous celebration of his own myth, and is multifariously marvellous. [Nov 2011, p.78]

It's unmistakable, unsettling, classic Linkous. [Oct 2006, p.120]

They may have defined a genre, but Low can clearly still move forward. [May 2007, p.99]

Lux works on a pragmatic and egalitarian level as more or less the ideal ambient record. [Dec 2012, p.66]

Dolorous, soulful, a voice that speaks of total commitment--Best Coast are The Crystals of the blogosphere. [Sep 2010, p.90]

Zeitgeist comes on with a vicious energy, a jugular-grabbing intensity.

Surprisingly experimental. [Mar 2018, p.28]

The band maintain their impeccable standards for muscular riffage and structural sophistication while still making the occasional flourish that further confirms their shame-free allegiance to prog. [May 2017, p.35]

The disparate elements feel abstract and abrasive in places, yet the whole is sumptuously melodic and sonically rich. [May 2016, p.75]

Eating Us is a litle too tidy, their frazzled wildness cultivated into ordered orchards, but on tracks like the typically titled 'Bubblegum Animals,' BMSR still conjure a ravishing, stoned cyber-soul pinic. [Jun 2009, p.83]

As ever, Case finds room for expansive manoeuvres in the gap between her lusty, orthodox pop choruses and droll, deadpan voice. Still a singer-songwriter like no other. [Jul 2018, p.24]

She immerses listeners in the remarkably wide range of textures and timbres she explores on chamber organ, Mellotron, oboe and other instruments rarely combined in such fashion since prog's golden era. [Oct 2021, p.27]

There's so much tunefully wild enjoyment on offer it's hard to pick highlights. [Jul 2010, p.110]

Black Hours knowingly and passionately charts a journey through make songwriting archetypes, from doomed fatalist to well-adjusted realist. [Jun 2014, p.84]

Mountain Moves is a brilliantly executed synthesis of tag-averse weirdness, orchestral pop and easy grooves, stuffed with earworms and whimsy-free. [Oct 2017, p.26]

Both Crutchfield sisters sound more comfortable in their own skin, more confident in their lyrics and vocals, as though bringing all those years apart to bear on the sessions. [Review of the Year 2025, p.20]

There's a surprising warmth to his work here as he gradually fills and empties out these eight immaculately sculpted soundscapes. [Dec 2020, p.36]

There is so much on Nashville Obsolete that impresses, but what lingers longest is rare and persuasive ability to tap into the ageless mythos of true American folk. [Oct 2015, p.85]

His voice must be heard to be believed. [Apr 2005, p.105]

Bridges high- and low-brow without ever being anything less than exhilarating. [Jul 2005, p.99]