It's a warm, beguiling set that tips its hat to roots music interpreters as disparate as Hoyt Axton, Fairport Convention, Dolly Parton, The Byrds and Bobbie Gentry, wile also tapping Cajun fiddle music and the work of Ralph Mooney. [Nov 2019, p.23]

There's an appealingly alien quality to Joyfultalk's third album, a sound that drifts beyond familiar reference points. [Apr 2020, p.28]

While some results can feel incomplete, it's riveting to hear the structures Allen creates even for Wasser's most sinuous compositions, the elastic almost-funk of "enter The Dragon" being the strongest evidence of this collaboration's viability. [Dec 2021, p.29]

It captures the core of what Jones does. His compositions are always assured, and his playing is never overwrought. [Jul 2022, p.29]

The group's most unabashedly pop-forward and irresistibly buoyant effort since 1996's Dizzy Heights. [Nov 2022, p.32]

Auerbach's stoic, close-mic'd vocals and gnarled tendrils of distorted guitar bring a devastating immediacy to an album that contemplates the death of love and, by extension, mortality itself, seeking closure. [Mar 2023, p.25]

This is a ceaselessly unpredictable and eclectic record that manages to sound as traditional as it does experimental. [Sep 2023, p.23]

“Trago notícias de uma nova geração,” he sings reassuringly, “Com certeza o mundo é bom” (“I bring the next generation’s news / That the world is surely good”). The music on Pequena Vertigem De Amor is so wonderfully seductive, so convincingly utopian, that you almost believe him. [Dec 2025, p.32]

Even by his prolific standards, Sojourner is impressive. [Oct 2007, p.99]

Something's happening wherever you turn on tracks that are dense with detail and brilliant accumulations of incident, but never overwrought or too busy, sheer grace their common link. [Sep 2011, p.80]

Earle also seems acutely aware that it’s impossible to forage deeper under the skin of these songs than Van Zandt did himself. But he’s able to summon the same air of desolation and disquiet by other means.

The production has opened up enormously. [Feb 2017, p.32]

Listeners anticipating some sort of shoegaze supergroup will be neither entirely wrong nor remotely disappointed. "A Different Girl" and "8th Deadly Sin" especially demonstrate that Berenyi retains her knack for wrapping languid melodies around waspish lyrics. [May 2025, p.28]

The music is so lovely, and the lyrics so smart, you're reassured that all hope is not lost. [Sep 2025, p.38]

Some songs don't quite live up to the arrangements, but the sonic ambition here shames nearly every other major-label release of 2016. [Jul 2016, p.78]

There's a less scrappy approach on this album, a glossier production with more realised and experimental offerings. [Jun 2017, p.28]

Drunk Tank Pink triumphs. No less do-or-die in their commitment, these songs are less determinedly dense. [Feb 2021, p.35]

Silent Alarm's innovation, sense of urgency and sleek production are enough to comfortably elevate Bloc Party above the post-punk rabble. [Mar 2005, p.106]

Oldham's rustic configurations have been replaced by the fine Chicago kosmische act Bitchin Bajas, who provide authentic relaxation tape vibes and stretch the parameters of Oldham's songcraft. [May 2016, p.69]

It's clever, surprisingly enjoyable and utterly insane. [Apr 2025, p.39]

Categorisable, but mostly excellent. [Oct 2017, p.35]

Mid Air amounts to 14 enigmatic variations on this mood, just piano, voice, the occasional pale moonbeam of orchestration, which miraculously never feels monotonous or morose.

10 taut, white-knuckle songs. [Feb 2016, p.72]

For all that Ghosts Of West Virginia is a serious work contemplating a serious subject, there are moments where Earle sounds like he's having more fun than any time since The Mountain. [Jun 2020, p.32]

The body of the album is given over to gorgeous, baroque instrumentals. ... But there is variety here. [Sep 2021, p.24]

It's an album of songs beautiful on the surface, but with darkness nibbling on all sides. [Sep 2017, p.18]

Wells adds waves of beauty, and flurries of click-track neurosis to Moffat's dispatches from the fringes of self-disgust. [Jun 2011, p.91]

The Ghosts Within typifies the uniqueness of Wyatt's oeuvre, though on this occasion it's not just his. [Nov 2010, p.95]