Every song offers something different, which holds your attention. [Apr 2009, p.101]

It would be unfair to expect a "Whipping Post" from Devon Allman, Duane Betts and Berry Duane Oakley on their first outing, cut live to tape in Muscle Shoals, as they seek a comparable energy, but they manage to capably shoulder the responsibility rather than sinking under it weight. [Aug 2019, p.25]

Enchanting arrangements, glistening instrumentation, and Griffin's hypnotic vocals carry the day. [Mar 2010, p.86]

Each track has been precision-tooled for playlist perfection but even here the sheer class of "Rendezvous" and "Karma" shine through. [Aug 2018, p.35]

For the most part, it's an effective addition.... The only real snag here is Rose's voice, which sometimes sounds so detached as to be barely present. [Nov 2013, p.78]

American Doll Posse sounds like a return to more conventional songwriting form. [Jun 2007, p.87]

Much here feels underdeveloped. [Jan 2015, p.71]

The results are suitably polishes, but their pleasures are ephemeral. [Mar 2016, p.71]

Not as muddy as one might have hoped, then, but this was definitely a revisit worth making. [July 2008, p.96]

You wish the pace would pick up after a while but then again, what My Sad Captains do, they do beautifully. [Apr 2014, p.78]

Moments feel somewhat bombastic, but where Scope Neglect hits, it certainly hits. [Mar 2024, p.26]

Seldom has retro sounded so pleasingly stubborn. [Jul 2012, p.85]

It's the slowies that suffer--lacking the warm glaze of the previous album, they can sound a little hollow. [Dec 2015, p.76]

Patchily exhilarating, but the blasts lack freshness. [Apr 2017, p.25]

Wainwright is newly hitched herself (to producer Brad Albetta) and I Know... is for the most part a decidedly mature singer-songwriter album.

The trio's blend of live performance, samples and electronica is hardly groundbreaking. [Feb 2012, p.98]

Sally Shapiro continues to revel in this cheesy yet faintly psychedelic sound. [Mar 2013, p.76]

Really, though, the whole--say, the bracing rock of 'Take Back The City'--is more than the sum of these parts, and underlines this album as a success in its field.

The way the elements hang together effortlessly on "Cataract" is worthy of Bat for Lashes, or even Bjork. [Apr 2010, p.109]

Half of this curious but at times compelling collaboration set lyrics from old songs to new tracks--though not always to their benefit. [Oct 2013, p.62]

The results are alluring warped but this groovy nostalgia is now a well-trodden path. [Dec 2015, p.76]

In terms of breath-snatching bravura, Worden shines very brightly indeed. [July 2008, p.105]

A bargin it might be, but the triumphs of yore tend to expose the new album's low-fi rockabilly and country strums. [Jul 2009, p.95]

Vance's earnest balladeering often sounds overly safe. [Jun 2016, p.82]

She proves... that she's more than a professional widow. [Jul 2005, p.104]

There's no shortage of decent tunes. [Nov 2011, p.83]

It's original member, turntablist Nu-Mark, who still provides the highlights. [Aug 2006, p.96]

The group's ninth album feels low-down and dirty. [Feb 2020, p.25]