[The album] has no one style, no favoured musical template. [Mar 2016, p.92]

Like a turbo industrial Tears For Fears. [Mar 2016, p.98]

Collaboratively, spiritually and musically... it works superbly. [Mar 2016, p.99]

Recent world events demand some kind of visceral response, and sonically, musically and emotionally, Hidden City's primal, from-the-heart worldview represents just that, unwittingly or not. [Mar 2016, p.90]

The delightful, multi-mood Commontime is just shy of an hour, opens things out and is more personal [than 2012's Plumb]. This might be the sound of maturing. [Mar 2016, p.96]

She delivers intelligence and sensuality like she never saw a line between them. [Mar 2016, p.98]

There's no happy ever after, of course, but at least this excellent record has come out of the darkness. [Mar 2016, p.92]

If you love pop, you really have to hear it. [Mar 2015, p.92]

Of the 12 heat-seeking tunes, Daughters sounds the best bets. [Mar 2016, p.100]

Alluring, if more cold brewed latte than electric kool aid. [Mar 2016, p.100]

Wabi-Sabi is as becalmed and warm as it's wracked and haunted. [Feb 2016, p.94]

There's a warmth and careless spirit to 96, Rome and myriad others that hasn't always been there down the years, and they've seldom bettered Save You. It really is heart-warming to have them back on point. [Feb 2016, p.90]

Further evolution is needed to forge an identity from the shadows of their contemporaries. [Feb 2016, p.98]

There's a '60s simplicity that's instantly engaging. [Feb 2016, p.93]

On The Move sounds like music made with drinks in hand and wide smiles on faces. [Feb 2016, p.95]

The exceptional songs of Martin Henry are served by the trio's undemonstrative guitar, bass and drums being augmented by keyboards, glockenspiel and harp. [Feb 2016, p.91]

The trio's approach naturally invokes comparison to their forebears, but pleasingly, Night Beats are distilling a strong vintage of their own. [Feb 2016, p.92]

It is the most raw and intimate long-player in the 15-year career of this fine Nashville-via-New England singer-songwriter. [Feb 2016, p.93]

On a basic, gut-punching level they deliver with inarguable aplomb. [Feb 2016, p.92]

If Watneys Red Barrel-flavoured stompers like Roll The Balls, Watch Your Step and Bonehead Waltz are something you'd dig, this is definitely for you. [Feb 2016, p.98]

Delightfully chewy collaboration. [Feb 2016, p.90]

In The Magic Hour is, in turn, both exhilarating and exploratory. [Feb 2016, p.97]

If the alcoholic's lament Death Came teeters close to parody, then the bare-boned country pop of Place In My Heart and Bitter Memory offer some much needed respite. [Feb 2016, p.90]

It's pleasingly dizzying, yet curiously coherent. [Feb 2016, p.98]

An album whose gentle charms fades a little before the final curtain falls. [Feb 2016, p.93]

This Family album goes toward capturing the band's undeniable genius, in music that lingers like the most terrifying dream. [Feb 2016, p.91]

Afrucaine 808 have perfected a highly effective remedy to standing still. [Feb 2016, p.94]

The first seven tracks are wonderfully lush and mellow, but loses its way on the closing two-song suite, War/Peace. [Feb 2016, p.96]