Birds & Beasts is nothing if not vivid – a summoning of the mythical American landscapes that kept pilgrims heading west. Despite its antecedents, the album is rarely conventional. [Aug 2024, p.41]

Slick and seductive. [Nov 2014, p.78]

What elevates Under The Covers above mimicry is the poignancy of the performances from all concerned. [May 2006, p.124]

Mystic Pinball is another assemblage of breezy balladry and snarling storytelling, delivered in the familiar Cookie Monster drawl. [Nov 2012, p.75]

Any sense they're simply re-creating the sounds of the past is dispelled from the first notes of opener "Morning in America." ... The band set every song in the present, drawing as much from sampling and turntablism as from old-school soul. [Apr 2019, p.31]

A soaring, Ian McLagan-dedicated Small Faces cover, "All Or Nothing," is the spiritual centrepiece of the set, but every song arrives with crisp melodies, burning guitars and impassioned vocals. [Apr 2016, p.81]

[An] utterly wonderful record. [May 2015, p.76]

These compositions are crammed with imaginative flourishes. [Jul 2025, p.33]

Suffused with optimism and defiance. [Aug 2020, p.34]

The best cuts have staying power. [May 2015, p.80]

If Metronomy appeared glib in the past, here you'll find musical and emotional depth. [May 2011, p.91]

All the hustle, serendipity and moments of beautiful clarity that characterise urban life are here in nuanced, very modern song. [Jul 2013, p.78]

Despite his recent move to a major label, these songs do retain the malicious edge that made its predecessor so enjoyable. [Sep 2016, p.75]

It's a beautiful-sounding record with tracks like "Somber The Drums" and "Everyone Out" providing moments of tender poppy beauty amid the general sense of decay. [Jun 2024, p.32]

Thrills and dazzlement abound. [Dec 2025, p.33]

An LP that reaffirms your faith in hip-hop. [Aug 2012, p.75]

It is this methodical exploration of the ancient and modern that makes Weyes Blood such a seductive proposition, and the ambitious Front Row Seat To Earth--intimate and enveloping, romantic and psychedelic--marks a significant progression in Mering's increasingly impressive career. [Nov 2016, p.38]

Thanks For The Dance has the intimacy that characterised Songs Of Leonard Cohen and Songs From A Room half a century ago, only rarely making the listener conscious of the resources at Adam Cohen's command. [Jan 2020, p.14]

These 10 art-pop and jazz-inclined abstractions are as elusive as they are instantly likeable, slipping away from definition even as you're listening via sweet melodic overplaying, elegant spaces and meandering/urgent grooves. [May 2019, p.32]

Deliberately daft, but also bold and adventurous, Late Of The Pier are a hyperactive British answer to MGMT. [Sep 2008, p.90]

There are moments of terrific turbulence, solemn quietness and some sadness, but the collection eventually lights on safe harbor. [Apr 2012, p.70]

Escape From Evil is a record about grief, and at times hits hard. [May 2015, p.76]

Nine luminous, clean0lined songs focus on love's myriad complexities. [May 2015, p.84]

The entire album sounds as if it was made to be heard on a Fifties jukebox rather than a state-of-the-art super-audio digital system. [Sep 2002, p.112]

The unlikely collision between Jimmy Webb and Talk Talk that is "Hell" repping particularly strongly for his new sound. [Aug 2020, p.36]

It's actually more satisfying as a piece, a folksy ambience lapping up against muted psychedelia and reverb'd pop. [Nov 2009, p.102]

Intriguing, enigmatic and one of a kind. [May 2010, p.90]

A squealing noise-rock juggernaut that balances gruff anthemicism with a certain improvisatory elan. [May 2024, p.38]