While her impressively expansive band needs little bidding to cut loose, Carthy's lush vocals, and cryptic lyrics keep you on your toes. [Jun 2011, p.103]

Stunning... a highly-textured, invigorating adventure in sound. [Mar 2012, p.94]

Her voice is pure enough and boasts the necessary dash of grit for her to rise above mere MOR blandness. [Apr 2012, p.84]

[The album has] the loose, zonked-out flangey FX/claivnet/Rhodes piano vibe of Goats Head Soup, with strong flavours of Flying Burritos country songcraft. [Jul 2012, p.82]

The new blood broadens the Sand's vocal palette and, along with some of Gelb's sharpest writing in some time - gives Tuscon's 19-song sprawl more energy and focus than any Gelb LP since 2000's Chore of Enchantment. [July 2012, p.89]

This is haunting, atmospheric and intelligent introduction. [Jan 2012, p.99]

Nothing here is less than intriguing. [Oct 2012, p.86]

It plays to all their debut's moody, elegant, widescreen strengths while illustrating the changes since. [Sep 2012, p.86]

These love songs all sound pretty good. But the feeling remains that she has more, which the respectful hands around her haven't liberated. [Jan 2013, p.95]

Challenging it may be at points, but absorbing and complex too. [Dec 2013, p.94]

A blurred landscape of muffled beats warped tape and corroded ambiance that suggests club land euphoria. [Feb 2013, p.93]

[The songs] are among the most immediate he's recorded. [Apr 2013, p.88]

These fine-spun talents are too frequently suffocated by the album;s production, which ignores the songs' subtler details in favour of something more epic. [Apr 2013, p.89]

The electronic undercurrent that's hummed throughout Hyde's musical life to date is there on Edgeland, but only in the gentlest of forms. [May 2013, p.85]

Wings Over America records the fact that they were a far sturdier, more streamlined and thrilling proposition than they were ever given credit for. [Jun 2013, p.96]

An unapologetic blast of tough breakbeats, deep bass, roots consciousness and with guest appearances from veteran MCs like Tenor Fly, General Levey and Tippa Irie, history lessons of how jungle grew from reggae and raving and influenced later forms including garage and grime. [Aug 2913, p.96]

For the time being Palms are holding fast to a distinctly high-flying trajectory. [Oct 2013, p.90]

A stylistic serpentine of an album, it wiggles insouciantly from sugar-rush synthetic pop to harp-caressed ballad. [Dec 2013, p.88]

One Day Away, with Urban, is country-lite, but everything else is heavy with the weight of Guy's skill and experience. [Jan 2014, p.101]

Kidjo is in scintillating form. [Mar 2014, p.93]

An ADHD, electro-fuelled crazy quilt. [Mar 2014, p.95]

It feels like a very personal and agreeably languid autobiography. [Mar 2014, p.93]

The solid, memorable songs are at the sweet end of the bittersweet spectrum. [Mar 2014, p.91]

The synths are always used imaginately, forming an intricately shifting mosaic structure on Sheen. [Aug 2014, p.91]

The title track is a thunderous grower with a tribal, kick-ass epiphany. And then...it's one mediocre ballad after another. [Jul 2014, p.91]

Hither he thunders, with an excellent 11-track battery co-produced by super-sticksman Jim Keltner in Memphis. [Nov 2014, p.90]

This studio rendition fills out the sound with added instruments, but this essentially remains a suite of spiky, modern-classical compositions delicately showcasing Smith's sensitive, frequently affecting observations on where he has fetched up. [Dec 2014, p.89]

Their guileless sincerity is less wild rumpus than Snow Patrol in its universal simplicity. [Dec 2014, p.102]