It's comforting and surprising, full of trad sounds electrified by the off-kilter vision of an artist whose recognition as one of Americana's finest voices is long overdue. [Feb 2016, p.67]

Rhythm is even more thrilling than the latter's recent Nikki Nack. [Jan 2015, p.78]

The joyously unhinged waltz "Better In My Day" is an amusing piss-take of nostalgic bigotry; while Bernholz's whispered vocals on tracks like "Hobby Horse" come with an undercurrent of menace. [Nov 2018, p.29]

Multi-instrumentalist Joe Pisapia, produced much of Easy Wonderful, which is distinguished by impeccably crafted contours, sharp lyrics, buoyant grooves and swelling choruses. [Nov 2010, p.90]

There's always a sense of menace, but it's surprisingly restrained. [May 2015, p.78]

On the whole this is a sanguine and at times even sentimental record, [May 2012, p.76]

Audacious cybernetic pirouettes such as "Poison Lips" and "Flashmob" bear the hallmarks of a musician enjoying a purple patch, who is able to caress from his machines a spectrum of emotion that leaves the listener purring with pleasure. [Oct 2009, p.119]

Its expansive ambition abetted by fellow travellers including Wayne Kramer and Peter Perrett. [Oct 2018, p.27]

An ear for arrangement detail — be it fuzzy synths or rustic washboard-like percussion — lifts often simple, acoustic-led songs into enduringly captivating territory. [Oct 2022, p.36]

The record prompts leaning in, not least of all for the gentle, cantering insistence of "Have Heaven" and "Our Hearts In A Room", with its soft piano and brush work. [Apr 2025, p.29]

Another superb venture. [Jan 2005, p.121]

While Like Clockwork sometimes felt a little leaden, Villains flies by. [Sep 2017, p.31]

The Evangelist isn’t a Go-Betweens album, but it’s more cohesive than any of Forster’s other solo albums, and more moving.

A couple of the more freeform screamers may be a holler too far for some ears, but there's no denying the passion and power of Bradley's formidable lungs. [Apr 2013, p.67]

Eight relatively streamlined stoner-rock cuts. ... But Fuzz are best when they embrace ridiculousness. [Nov 2020, p.29]

Based On The Best Seller is a high water mark. [Nov 2025, p.39]

An album of flashing wit and giddy ambition. [Oct 2002, p.110]

Doesn't quite make it into the Thompson solo Top 10.... But it's good to have him back. [Mar 2003, p.102]

This is adventurous modern music which uses old rock and singer-songwriter traditions as the raw material to be manipulated. [Album Of The Month, Feb 2002, p.110]

This second collection consistently zips along, taking in one exceptional single and a clutch of songs that mostly resemble overdriven outtakes from Liberty Belle And The Black Diamond Express (high praise). [May 2017, p.37]

An eclectic, often crazed debut album.... They have all the hallmarks of an excellent, innovative band that won't be undone by their own hype. [Sep 2002, p.105]

On first hearing it's a little underwhelming, but its subtle charms certainly grows. [Jul 2023, p.30]

Their garage-rock stylings have flourished. [Oct 2018, p.29]

All in all, a neat side-stepping of expectations and a timely one. [Jul 2013, p.81]

The result is a pulsating, itchily funky brew, pitched somewhere between Pigbag and Can. [Jul 2013, p.78]

Using banal sample does lead to some fairly bland passages, but Lopatin and his studio partner Nathan Salon squirrel enough unorthodox ideas into their sound design to give the likes of "Lifeworld" and "Rodl Glide" real verve. [Jan 2026, p.35]

Furman's distinctive shrieking, poetic phrasing and postmodernist perspective prevents the work from sounding overtly derivative. It instead borrows the best qualities of its forebears, and fuses them into something new. [Sep 2019, p.22]

At best, Hissing Fauna... posits its creator as the missing link between Hot Chip and Morrissey. [Mar 2007, p.88]