[It is] an eclectic patchwork of cinematic techno-rock and beat-heavy vocal tunes featuring stray members of the Chili Peppers, Warpaint and more. [Oct 2011, p.81]

A double LP by name, but distant cousins rather than telepathic twins. [Feb 2020, p.33]

The reggae-tinged "Fol-de-rol" is a definite low, but elsewhere this is a competent, if unsurprising, effort. [Nov 2013, p.71]

It's commendable stuff, but you can't help wishing he'd kept the scattershot, carte blanche approach of before. [Nov 2007, p.121]

Her second LP as Du Blonde plays it two ways: first with unremarkable, lunging dynamics and fuzz-caked riffs, then in a leaner and more soulful style, wit nods to prog and '70s folk-pop songcraft. Tha latter is more convincing and a better fit for her great voice and brutally honest lyrics. [Mar 2019, p.27]

Her blowsy voice now seems happier in those quieter settings. [May 2008, p.104]

These 13 examples can get annoying when they stray into willful atonality, but really hit the spot when he lingers on simple themes. [Mar 2012, p.81]

Sumie blends Japanese and Scandinavian folk, singing crisply over repetitive acoustic guitar patterns. [Mar 2014, p.83]

Honey's intentions are noble but the results are mixed. [Jun 2016, p.69]

It has its Mr. Fox-y moments but this feels like a minor clanger. [May 2012, p.83]

On songs like "Ring Of Gold," the Llamas essay a beautifully melancholic take on sunshine pop that's pure and true. [May 2011, p.88]

Like ...Van Occupanther, The Courage Of Others is texturally rich and technically refined, elegantly capturing the ambience of the folk rock scene to which it pays fulsome tribute. But sadly, there's something cold and unwelcoming at its core.

Miller can't help occasional returns to his powerpop protocol. [Jul 2012, p.77]

A stew of funk noir and mashed-up rhythms--a little too mashed-up at times. [Dec 2002, p.130]

A decade on the formula hasn't change much. [Nov 2016, p.37]

The result is akin to a John Ford film with an indie soundtrack. [Nov 2018, p.37]

The constant is Wilson’s fiery vocal, still powerfully passionate well into her seventies. [May 2022, p.36]

Here it's his "Story Of An Artist", delivered with a disarming simplicity. With contributions from regular collaborators Jim James and Neko Case, the other eight songs are striking originals. [Aug 2023, p.38]

Whilst a gift for converting arrogance into entertainment has always been one of Jay-Z’s strongest suits, Kingdom Come skirts perilously close to the showboating that marred 2002’s bloated double album, The Blueprint 2.

This fourth album is straining toward a more commercial sound, but pop crossover needs hit songs and F&M's best moments are still driven by ace rhythm section Matt Hainsby and Lee Adams. [Feb 2011, p.87]

They're pop-culture-versed update on the Gravesiggaz, murky collective efforts like "NY (Ned Flanders)" popping with grisly imagination. [Jun 2012, p.80]

Johns eliminates the melodramatic slow builds and punches up the groove quotient, much as he did for Ryan Adams on the similarly melancholy Heartbreaker. [Mar 2011, p.85]

There are plenty of deft touches but it's perhaps too knowing to truly connect, to sketchy to reward deep listening. [Jul 2014, p.80]

Much of this is rather pedestrian ska with blandly topical lyrics referencing populism, social media and hashtags. However, "Remember Me" winds and grinds appealingly. [Nov 2017, p.36]

There are some strong cuts but even Pollard, who appeared more energised on his recent solo LP Of Course You Are, sounds a little tired by the enterprise. [Jun 2016, p.74]

Manners is impressively slick and sparky but probably just a little too toothpaste fresh. [Jun 2009, p.93]

If Matt Pike's current group High On Fire are a little less singular than Om, in thrall to the dark trash of Slayer and Celtic Frost, five albums have semn them chisel out their own grizzled, imposing image. [May 2010, p.90]

A robust if not radically groundbreaking set of hook-laden heartland Americana with occasional detours into college indie rock. [Oct 2019, p.39]