A dreamy, immersive mood piece that is as personal as it is instantly accessible. [Nov 2014, p.93]

Gorgeous minimalist songs are punctuated by Prince-like synths and Ware's impressive vocal range. [Nov 2014, p.102]

Gray returns in strident form with this mature mediation on womanhood, sex and love. [Nov 2014, p.102]

Audacious, hook-packed debut. [Nov 2014, p.102]

It yields mixed results. [Nov 2014, p.100]

A brave, inspired step into the unknown. [Nov 2014, p.100]

The resultant instrumental album, although about atmosphere and texture, is more filmic and wide-screen than before. [Nov 2014, p.99]

Eclectic as it is, Weatherhouse is largely convincing evidence of a singular voice being belatedly found. [Nov 2014, p.99]

Their star power indeed might be largely borrowed, but they wear it well. [Nov 2014, p.98]

The results, often transcendent and inventive, incorporate gospel elements and "found sounds," while retaining the spirit of shaky DIY experimentation. [Nov 2014, p.95]

He may not be a born singer, or particularly vocally charismatic, but he sounds like he means it, and that's more than enough. [Nov 2014, p.94]

The gauzy hypnotism of opener Infinite Trips sounds as if was beamed in from a far more enticing album altogether. [Nov 2014, p.89]

Mid-life crisis rarely sounded so appealing. [Nov 2014, p.90]

"Hesitant" is the right word for his attempt at creative rebirth. [Nov 2014, p.92]

Hard to know if he's upbeat or down--at times it might be a break-up album--but enjoyable either way. [Nov 2014, p.92]

Straight and true, without a trace of rear-view-mirror sentimentality. [Nov 2014, p.92]

Jackson Browne's return after six years feels dutifully dragged out of some deep somnolence, maybe exhaustion. [Nov 2014, p.90]

Daft, overblown and sometimes unintentionally hilarious. [Nov 2014, p.90]

This panoramic attempt to make sense of life's one certainty beyond taxes flutters far above the digital static of 2008's breakthrough Los Angeles into twisted, ethereal jazz territory. [Nov 2014, p.89]

[An] irresistibly immersive fourth album. [Nov 2014, p.89]

What is missing is that impish, dangerous side, the famous contorted grin and all that it suggests: humour and horror, surprise and confrontation. [Nov 2014, p.89]

Leonard's half-spoken, slow, dark blues growl is powerful. [Nov 2014, p.86]

Each track employs a different variation on a naïve, early Depeche Mode synth-pop beat, over which a keyboard melody bloops and Dury whispers forlornly about a missed romantic opportunity or existential let-down. [Nov 2014, p.92]

This is a record that rewards digging into Treays' melodic moods and lyrical follies. It is also a staggering collection of exceptional songs. [Oct 2014, p.86]

This album underlines she's more than a mere rock'n'roll totem. [Oct 2014, p.91]

Were every song as great as I'm Free, Blue Skies and Call Me Faithful, this would be a classic too. [Jun 2014, p.94]

Enter is 21st century big band jazz at its most brain-spinning. [Sep 2014, p.91]

They serve up a tastier morsel with Mary Mary, a slab of tripped-out cosmic disco. [Oct 2014, p.93]