Their sixth album is their most direct and uplifting yet. [Apr 2015, p.83]

The results are successfully restorative, sometimes recalling The Album Leaf's 2000s Sigur Ros collaborations. [Aug 2020, p.33]

Utter desolation never sounded so lovely. [Apr 2012, p.84]

This is mostly acoustic guitars lovingly plucked, drums delicately brushed, fiddles softly sawn. [Oct 2003, p.113]

It might be best to appreciate Call The Comet as a sublime soundtrack, possibly the most atmospheric, widescreen guitar album you'll hear all year. [Jul 2018, p.25]

Blue Songs journeys as great LPS should do. [Feb 2011, p.89]

It's autumnal but never overbearingly bleak, thanks to the enduring warmth of Thorn's voice, and the empathy of her lyrics, even on the almost desolate "Singles Bar." [Jul 2010, p.125]

A Boy From Tupelo is ultimately a necessary and revealing addition to Presley's vast catalogue, one that spins a fascinating yarn about a pimply kid who transformed into something unprecedented: a rock star. [Sep 2017, p.50]

Time's Arrow does venture a little outside their comfort zone - the lush "California" is a Cocteau Twins fever dream - but they're at their best closer to home on the career high of "Misery Remember Me", a glittering palace of gothic Italo disco. [Feb 2023, p.29]

Kelly has lost none of his facility for wry lyricism or deadpan melody. [Sep 2017, p.32]

An audacious vault into Depeche Mode and U2 territory. [Oct 2017, p.30]

Intoxicating. [Mar 2004, p.87]

Sounds great, but a little superfluous. [Jan 2020, p.28]

The trio has acquired the confidence to cherry-pick tropes from dark-rock's heritage and mould them into thier own glum grooves. [Mar 2006, p.100]

A sumptuous set of gloriously gloomy ballads that emphasise Moss's expressiveness as a vocalist. [Dec 2018, p.28]

[An] excellent debut album. [Nov 2014, p.73]

First-time producer Justin Townes Earle has succeeded Jack White as guardian of the Wanda Jackson sound, guiding her through a fascinating mix of covers and originals. [Dec 2012, p.72]

Heartbeat rhythms raise the emotional temperature. Joseph’s theme is abuse, and survival. Her voice coils and swirls in songs that play like maternal nursery rhymes rendered for comfort. [May 2022, p.29]

Through the simplicity of their languid melodies, Beach House access a portal into pop's truly uncanny nature. [Jan 2007, p.93]

Like Lubomry Melnyk's, Moore's rapid piano-playing creates an appealing haze on "Starwood Choker" and "Form Takes," while his companions augment this with similarly opaque washes of tape delay, spectral drones, bass and woodwind. [Mar 2017, p.25]

A gleefully malevolent testament to the cathartic joys of furious, poison-flecked songwriting. [Oct 2007, p.113]

Weirdest of all is "Don't Forget Jayne", where JBL freaks out over a wonderfully odd fusion of Taylor's disjointed samba drumming and Wener's smooth jazz guitar licks. [Mar 2025, p.34]

The Heavy's debut album is a dirty, bluesy, funk rock noise that, on paper, looks deeply uncool but might actually be the album of the year. [Dec 2007, p.97]

Weaver grounds all this analogue fizz and crackle in strong songwriting, erecting a razzle-dazzle wall of sonic scaffolding around richly referential lyrics and lysergic pastoral harmonies. Her best yet. [Jun 2017, p.38]

Out of the pain and anger, Moorer has fashioned the finest album of her career. [Apr 2015, p.80]

Resulting in a most welcome return for this singular artist. [Jun 2025, p.42]

Simple but true. [Jun 2016, p.78]

This third album sees her come into her own as a songwriter with a seductive collection of slow-burning synth-funk. [Aug 2016, p.80]