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While it lacks the propulsive edge of, say, the Knife, Hukkelberg’s work has a definite orchestral sense, the hallmark of someone who has listened to her share of Cocteau Twins, which is never a bad thing.
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This is a singer's album, highlighting Hukkelberg's voice above all else.
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Her ability to sound so eccentric yet create music so inherently comfortable is no small feat; by now, we know that wherever she goes to write her albums, and whatever bric-a-brac she ends up playing, the end result is always going to be sublime, and Blood From a Stone is no exception.
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UncutDespite being her most superficially conventional work to date it may be her most slow-burning, with less of the bricolage charm that distinguished the earlier work. [May 2009, p.89]