A magnificent comeback. [Oct 2013, p.57]

It's yet another display of excellence from an artist in consummate control of his art. [Feb 2015, p.82]

This collection makes clear that there are still many more stories to tell, more beauty and evil left to uncover. [Jun 2017, p.40]

It's impeccably crafted, with Mitchell and Johnson's radiant harmonies to the fore over arrangements that sometime evoke the bittersweet bliss of Fleetwood Mac ot turn-of-the-70s Grateful Dead. [Nov 2022, p.26]

The album's undisputed highlights are "Hit Somebody! (The Hockey Song)" and "Genius." [Album of the Month, July 2002, p.100]

It's an invitation to peer into the hidden spaces of an extraordinary modern songwriter, where calm and quiet moments prompt superlative work. [Nov 2018, p.32]

Joan Of All rarely feels ordinary. ... As a whole, this is a work of strength and variety. [Jun 2023, p.24]

[A] triumphant resurrection. [Nov 2005, p.96]

The result is digital psychedelia with eyedrop clarity. [Apr 2013, p.71]

There's a gorgeously somnambulant yet softly romantic feel to these 10 songs. ... And it benefits from masterfully subtle arrangement touches. [Dec 2021, p.27]

Coexist is a masterpiece. [Oct 2012, p.80]

Possibly [his] best album. [Jun 2007, p.84]

Nelson's voice has lost none of its wry warmth, his fretboard fingers little of their astonishing agility. And the songs here are terrific. [Jun 2018, p.33]

The Smile take Radiohead’s privileges seriously, rewarding our attention with music that demands and – crucially – holds it. No frills, no distractions. A little like Radiohead, then; but there’s nothing wrong with that. [Feb 2024, p.29]

His brightest and most vivid record. ... Here he finds new dimensions, rethinking his phrasing, tone and cadence. [Sep 2021, p.16]

The second brilliant Scissor Sisters longplayer and the greatest album John/Taupin never made. [Oct 2006, p.96]

It's a subtler and darker sibling to The Sophtware Slump or Just Like The Fambly Cat. [Apr 2017, p.30]

Filled to the brim with usual abundance of trademark lyrical zingers, tenacious earworm melodies and stylistic zigzags. [Jun 2020, p.26]

["Around The Horn"] inflates over a final few minutes into something uniquely epic. ... Lyrically, it's pretty baffling where "These Rocks," one of the albums' standout tracks, is the most openly confessional song Houck has written, set to a churchy musical swell, congregational and healing, the sound of a lifetime burden lifted by love. [Nov 2018, p.28]

The most infectiously tricked-out rock LP since El Camino. [Oct 2012, p.77]

Mid Air amounts to 14 enigmatic variations on this mood, just piano, voice, the occasional pale moonbeam of orchestration, which miraculously never feels monotonous or morose.

This wired counterpart [to 2016's lush Singing Saw]pays tribute to a New York tat now exists only in the songwriter's head, or his record collection. [Jul 2017, p.35]

While Waxahatchee has never sounded more suited for mass approval, Crutchfield has never seemed truer to herself. [Apr 2024, p.30]

This 50th anniversary reissue of their faultless second LP still digs deep to find six unreleased studio cuts. [Jan 2020, p.39]

LaVette remains at the peak of her considerable powers at the age of 77. [Jul 2023, p.37]

As a lyricist, she remains the understatement queen, “Let’s keep all our doctor’s appointments” from “Be Careful With Yourself” perhaps one of the most superbly subtle statements of devotion in recorded song. Nobody underdoes it better. [Sep 2022, p.26]

Songs Of Our Mothers taps into something much bigger than itself. ... It also helps that the music is quite remarkable. [Oct 2019, p.38]

[Fuzz is] eight glorious tracks of heavy, frantic and, yes, extremely fuzzy, proto-metal. [Nov 2013, p.71]