Her new album whizzes by in a 28-minute blur of finger-tapped melodies, lopsided time signatures and arrangements that, on tracks like "earth Eater" and "Believing IS Seeing", whip from jazz to glitter to metal with neck-snapping precision. [Dec 2023, p.36]

Home Video is Dacus at her most autobiographical and lyrically direct. [Jul 2021, p.28]

The sound here is plastic, pliant, gentle--tonal driftwood punctuated by sun-dappled synths and ruminative piano, like Eno's Music For Airports gone miniature. [May 2019, p.37]

The frenzied, immersive and hard-charged psych the band has explored previously gives way to an album that is woozy, melodic and reflective. [Jul 2018, p.37]

Nine Types Of Light suggest they're settling in nicely. [May 2011, p.78]

It all adds up to an immaculately composed, if soft-centred, avant-pop proposition, and suggest Frank might just turn out to be the British Justin Timberlake. [Aug 2009, p.92]

The real revelation here is 25-year old James Francies, who plays Jimmy Smith-style Hammond on "Timeline," heavy rock organ on the Hendrix-inspired "Lodger" and mischievous Monk-style piano on a version of Ornette Coleman's "Turnaround." [Oct 2021, p.29]

Kin Sonic is a far more expansively international affair. [Aug 2017, p.32]

Superior adult-contemporary rock. [Dec 2004, p.152]

Anima feels like a dive into an inner world, profoundly intimate and emotional even as it remains enigmatic and blurred at the edges. [Sep 2019, p.25]

Achieves a drifting, beautiful desolation that many of their peers lack. [Sep 2017, p.24]

Guitarist Glenn Page appears to be channelling namesake Jimmy in his Yardbirds days, while the spot-on harmonies of "After You're Gone" suggest a live anthem in waiting. [Mar 2010, p.93]

Immunity's greatest rapture, however, lies in Hopkin's welcome reunion with King Creosote for the title track's glistening melancholy. [Jul 2013, p.76]

The Mood is subdued but cavalier, more of a mixtape. [Nov 2016, p.24]

Psychedelic touches percolate subtly through the songs. [Oct 2015, p.79]

This 11-piece ensemble of accomplished veterans positively struts on its third LP since forming in 2011. [Sep 2013, p.95]

The concept is implicit in the music's gospel-soul communion, the lyrics' yearning and reckoning, and the rousing, towering power of Jones' purposively nostalgic soul vocal. [Jun 2023, p.31]

[The Silver Gymnasium is] the sincerest, most heartfelt album they've yet assembled, and it's all the more powerful for it. [Oct 2013, p.60]

The Sleaford Mods we hear on Spare Ribs sound more comfortable in their own skin, relaxed enough to explore their eccentricities. A tart, sometimes topical edge remains. [Feb 2021, p.35]

The sense throughout is of awesome power, as effective simmering as it is unleashed. [Nov 2012, p.85]

At their best, on "Someone Far Away" and "Give Up," the group blends pop sparkle and melancholy indie charm in the manner of The Chills. [Jan 2017, p.21]

Bleak but brilliant. [Nov 2008, p.109]

A palatial record. [Mar 2009, p.89]

Over two decades on, in remastered form, these tracks have aged well, retaining their multi-layered, bass-heavy eclecticism, and moving back and forth between gentle melancholia and hands-in-the-air euphoria. [Jun 2017, p.49]

The result is a record that demands to live not in some mythologised '80s, but in the here and now. [May 2011, p.81]

At its heart, though, this is essentially a great pop album. [Jul 2016, p.83]

She's still a class act. [Jul 2003, p.118]

Mann's striking vocals, empathetic and emotional, weave through anxiety and depression, crisis and loss. Melodic arrangements abound. [Dec 2021, p.29]