On Tomorrow, In A Year, The Knife have reinforced everything that makes them such a brilliant, endearing group. [Apr 2010, p.93]

As with its predecessor, the album cherry-picks from the past, but comes with a contemporary sheen. It's hard to imagine her bettering this. [Aug 2016, p.80]

Day To Day's fusions feel accomplished and natural. [Aug 2016, p.77]

“Stock Horror” offering aghostly absence, its additional sepulchral weight midway through welcoming what could be ameteor shower, while the amorphous “Dim Hopes” ultimately brings brighter skies too. Similarly, “We Were Vaporised” effects alanguid transubstantiation. [Jun 2024, p.39]

The lasting impression is of a record whose most tangible identity is that of a band on the verge of change contemplating their own back pages. [Dec 2021, p.47]

In this lunar setting, Oldham's visionary, spooked words are lit up with renewed clarity. [Feb 2005, p.78]

The sheer velocity with which they throw ideas out makes this a mighty exhilarating record. [Nov 2012, p.77]

If A Different Ship was the soundtrack to a road trip, the new record is designed for a summer afternoon. [Dec 2015, p.73]

Fans get their money's worth with this particular Broderick. [Jan 2018, p.35]

Rather than act like temporary caretakers tiptoeing around WWI's vast, eternally resonant themes, Field Music have sensibly moved in and made them their own. Not a memorial, then, so much as a remix of history. [Feb 2020, p.24]

The result: gorgeous, unpretentious post-folk melancholy. [Jan 2017, p.32]

It's an entertainingly disruptive blast of a record with a mirrorball lure, refracting everything from Motown to early-'80s disco and funk, boom bap, '90s piano house and contemporary R&B Yet nothing is stripped of its oddness or playfulness. [Feb 2018, p.33]

While the tempo and patterns vary, with “I” featuring Christer Bothén on the six-string donso n’goni, the vibe is pleasingly uniform, with a boundless feel akin to Neu!’s “Hallogallo”. [Jun 2022, p.23]

The musical richness and genre-blending confidence adds up to a quietly great album. [Mar 2016, p.82]

If you can forgive Condon’s mannered delivery and overabundance of drunken waltz rhythms, this is an audacious experiment in cultural appropriation, an enchanting musical holiday in someone else’s misery.

A blurring of fictionalised murder ballads and heartfelt break-up songs, Feed The Fire clothes breathy, emotive vocals in weeping strings, tremolo guitar twangs and ethereal electronica. [Mar 2016, p.78]

The album's musical tone is well judged, with Hiatt equally versed in flinty roots-rock and urban country songs. [May 2020, p.26]

A familiarity with the back-story is not necessary to enjoy this potted indie-rock opera: as always with Darnielle's work, an appreciation of droll storytelling and deadpan melodies will do. [Dec 2023, p.34]

This collection is ample testament to one of the last great English avant-pop careers. [Mar 2012, p.84]

His debut for Thurston Moore's label is another walk in the forest of heavy psych rock and avant folk, that blurs the boundaries between the timeless and traditional and the tres moderne. [Nov 2008, p.100]

A Kind Revolution shows that Weller's Indian summer of creativity--one that started with 2008's 22 Dreams--shows no sign of ending. [Jun 2017, p.20]

Potato Hole proves as extraordinary, delirious and laugh-out-loud weird as anyone might dare hope.

The results may lack the stamp of originality, but the likes of "Silver Living," "Giving Out," and "I Know It's You" are vibrant, brimful of melody and lots and lots of fun. [May 2013, p.71]

An immersive, gently hypnotic and sporadically sublime album. [Dec 2022, p.29]

Volume 3 is terrific when M. Ward's heavier production subsides and Deschanel's voice freely suggest swinging from lampposts in a romantic swoon. [Jun 2013, p.78]

There's rich melodies buried in many of these tracks. [Aug 2015, p.73]

The Derbyshire trio bring a pleasing experimentalism to their second LP. [Aug 2015, p.75]