Cool and clever without being contrived, this is sharp, commercially astute pop music that ebbs and flows to the rhythm of a very human pulse. [Jan 2011, p.84]

In Spades is a thrillingly impassioned addition to their catalogue. [Jun 2017, p.21]

Lofgren's voice is crackly, but plays perfectly. [May 2019, p.30]

It's exasperating at first, but the rewards are there for the dedicate dreamer. [Apr 2015, p.77]

Lost In The Dream is calmer and more confident than previous efforts, songs stretching out beyond the six-minute mark if the feeling is right. [Apr 2014, p.83]

The record is as intimate and low-key as an evening home with friends. [May 2015, p.84]

Diviner retains much of what Wild Beasts did best. [Jul 2019, p.37]

Amelia Rivas and Christian Pinchbeck were "on" before they recorded their debut album, but are now very much "off," a situation which adds a fraught edge to the woozy Sky Swimming. [Jun 2014, p.76]

The choice arrangements are alive with conviction. [Jul 2015, p.73]

It sounds more like a busk than a serious recording session, and that briskness is its strength. [Feb 2011, p.83]

The Monsanto Years is occasionally rambling, frequently sentimental and sometimes moving. [Aug 2015, p.68]

Banhart's free-flowing oddness makes most musical eccentrics seem self-conscious and predictable. [Jun 2004, p.90]

What Acoustic Recordings best illustrates, though, is a consistency to White's songwriting that has endured through his myriad projects, even as his music has swung unpredictably between playfulness and intensity. [Oct 2016, p.48]

It's a strong, seductive set, with the soul-blues burn of "Prophet" and tender "If You Think It's Love" standouts. [Dec 2019, p.29]

Surprises are few on the pair's excellent fourth album Par Avion. [Sep 2014, p.81]

Small, but near-perfectly formed. [Nov 2011, p.90]

These stark, largely unadorned folk-country songs are given added edge by Irwin's faintly metallic voice, with delicate shadings from the like of producer and multi-instrumental wizz Tara Jane O'Neil and pedal steeler Marc Orleans. [Dec 2012, p.72]

Seldom can nostalgia have sounded so fresh on songs such as "Downhearted," "Try" and the exquisite slow burn of the title track. [Mar 2017, p.25]

This fully formed debut is incontestable evidence of an important new act. [Sep 2022, p.30]

If these 13 tracks recorded between 1996 and the early 2000s can't match the perfect cohesion of the parent album, the collection's calling card is its diversity. [May 2015, p.93]

The trio's captivating blend of archive voiceovers, yearning harmonies and melodic lushness proves as compelling as Hannah Peel's vocal daring. [Apr 2016, p.76]

An hour-long piece of generative music in Discreet Music's mould. [Jul 2025, p.27]

Motion files nicely alongside Fripp & Eno, or Klaus Schulze, a set of rippling, drowsy circuitry, laminated with silvery guitar drones. [Apr 2014, p.76]

With its innocently poignant synth melodies and fragile guitar arpeggios, You Win Again Gravity is redolent of the flashes of true beauty that the style's original practitioners sought back in the glory days. [Dec 2002, p.151]

They have the grit and immediacy of demos, but Whole New Mess sounds just as powerful and just as finished as its more polished predecessor, like we're hearing Olsen work through her ache and confusion in real time. [Oct 2020, p.34]

Slowly, these immensely crafted songs bed in, emerging as some of the best and most accessible that Oldham has ever written. [May 2010, p.84]

Dreamy of atmosphere, and often screwed of tempo. [Aug 2015, p.71]

Warm Leatherette is often considered a rehearsal for Nightclubbing but in some ways it’s the most radical of the pair, because it unveiled to a shocked audience the new-look Jones, presented on the sleeve in stark black and white as a kind of sinister Pierrot by her partner Jean-Paul Goude.