Tempers the sounds of traditional mountain music with a heady sense of experimentalism. [May 2021, p.28]

Some of Deerhunter's prettiest songs to date. [Feb 2019, p.13]

The excellent military beat of "The Aphorist" and almost genteel "Worm In Heaven" are fine point of entry, even if the cacophonous likes of "Michigan Hammers," "Modern Business Hymns" and "I Am You Now" are more typical representations of the band's disorienting sound. [Aug 2020, p.36]

Unexpected and quietly ambitious. [Aug 2019, p.32]

This is as riveting and beautiful a valedictory address as you could hope for from these underground heroes. [Jan 2011, p.95]

Cut The World blow Hegarty's songs to grander scales. [Sep 2012, p.73]

It features tracks recorded with rock outfits like The Flying Hearts which recall Jonathan Richman and Lou Reed; minimal, folksy miniatures that sound a ltttle like John Martyn or James Taylor; and a string of delicious, whimsical synth-pop songs that are as good as anything in the early-'80s canon. [Dec 2008, p.115]

It invokes countless familiar sources--The Byrds, Ennio Morricone, The La's, The Doors, Joe Meek--but reassembles them in such an unexpected way that 500-year-old songs sound utterly fresh. [Feb 2010, p.88]

The wonder of it all lies not so much on the amount of ground she covers but the way she inhabits her material so convincingly. [Oct 2011, p.94]

It's packed with diverse performances. [Mar 2012, p.104]

Distance takes the intensity of 29013's Blindspot, and doubles it. [Sep 2014, p.77]

The results are by turns atmospheric, deeply odd, funky and wistful, but never less than superb. [Nov 2014, p.84]

Michael Nyman's elegant, pulsing scores are evoked on "Requiem" and "Black Madonna," while "Coat Of Arms," with soft vocals and mournful oboe, moves with quiet dignity. [Apr 2015, p.72]

Although What If's nine instrumental tracks are heavily rhythmic, this is a refreshingly gridless and affecting music, with serrated clicks and muted arpeggios wandering organically in and out of time. [Apr 2017, p.30]

Hinson's latest is a tear-soaked concept album that's distinguished by the sheer magnetic beauty of the music. [Oct 2017, p.30]

The pair's dialogue on SpiderBeetleBee move fluidly between unison harmonics and point-counterpoint. [Nov 2017, p.32]

A thing of gentle and radiant wonder. [Mar 2018, p.24]

Watson's snarky humour prevents anything from feeling too weighty. [Aug 2018, p.35]

Melnyk conjures a world that is both sentimental and abstract--a safe space in which to lose yourself. [Jan 2019, p.22]

This set offers up a dozen nuggets from the heyday of Nigeria Afropop, all previously unreleased outside West Africa. [Jun 2019, p.49]

This is by some way their most fully developed and experimental set to date. [Jul 2020, p.30]

Joseph's craggy voice is perfect for such heavy-duty topics. [Sep 2020, p.28]

Sixty Summers sees the kitten-voiced Julia take even bolder steps into uncharted territory. [Mar 2021, p.37]

Flitting between Black Sab homages such as “Busted Room” and the Zep-esque quasi-Middle Eastern “Recessinater”, and shorter rockers such as the Stooges-like “Front Street” and “BFIOU”, which opens with the riff from the Beasties’ “Sabotage” before exploring even scuzzier directions. [Jul 2021, p.24]

Her supple voice is a thing of understated beauty, bonded to tales of emotional attachment and release in a way that suggests full closure is still a little way off. [Apr 2022, p.28]

There are more weather-beaten back-porch vibes to the pedal steels of “Not The Only One”, and the sublime Jenny Lewis duet “Everybody” sounds like a dream date between Glen Campbell and Dusty Springfield. [Apr 2022, p.25]

You're left wishing these jazz quintet pieces breathed more. [Aug 2022, p.26]

If it's not as striking as its predecessor, its colourful patchwork exterior clothes some of Hitchcock's finest recent songs. [Nov 2022, p.29]