The results are too eccentric and sprightly to squash the music's potential. [Oct 2014, p.89]

Listen throws a helluva lot at the wall, and not much sticks. [Oct 2014, p.89]

Overjoyed suggest not only Half Japanese's own past abut also the pre-Television, Richard Hell-overshadowed Neon Boys. [Oct 2014, p.89]

The sum total is unmistakably, and welcomingly, Interpol. [Oct 2014, p.89]

There's lyrical playfulness throughout. [Oct 2014, p.89]

There's a crystalline gorgeousness in the production, too, that takes it out of homage territory and into a rarefied league that most recently recalls The War On Drugs. [Oct 2014, p.88]

More spontaneity might have tempered this chill wind. [Oct 2014, p.87]

This is an exciting second act, tempered by the occasionally predictable moment. [Oct 2014, p.87]

Goddess weaves a captivating spell that many are certain to fall under. [Oct 2014, p.87]

A concise 10-song encapsulation of Kilgour's eternal virtues. [Oct 2014, p.87]

[Wand] deliver their heavy acid rock distortions with an Oxford-shirted campus naivety that lends their debut an added weird darkness. [Oct 2014, p.86]

With Lullaby his tricky metamorphosis from Golden God to dignified elder statesman is now complete, and the last stages of that transition make for a rewarding, often touching listen. [Oct 2014, p.84]

The result is their best and most thematically complete album since Achtung Baby. By turning towards their past, U2 have found their way back to the future. [Nov 2014, p.88]

Relic sounds like an album that could have been recorded in the last 50 years. [Aug 2014, p.89]

Trouble is they're embalmed within a high-gloss, synth-heavy production that sounds like '80s LA soft rock. [Sep 2014, p.98]

The permanence of adolescent earnestness hangs about the Young Adult novel-ish lyrics. [Jul 2014, p.92]

Although The Dew Lasts An Hour is a patchwork quilt of an album, it's so audaciously pulled off it's impossible not to grin and wonder why mainstream pop missed this trick 30 years ago. [Sep 2014, p.96]

With Ulrich Schnauss's ambient touches adding extra depth to the mix, it's the sound of a belated coming of age. [Sep 2014, p.96]

It ain't light listening but its emotions run deep. [Sep 2014, p.95]

Anyone with a dog-eared Thick As A brick or A Passion Play album will be familiar with the rich brew of prog, folk, metal and whimsy he has served here. [Jun 2014, p.95]

[A] stripped-down, beautifully stark and simple new album. [Sep 2014, p.96]

Clearly not a point of entry for the uninitiated, but all serious Wire-ologists need this. [Sep 2014, p.107]

English subjects his ghostly pastoral chorales and haunted organ tones to crashing interrogations of harmonic distortion, transforming old worlds of meditative calm into a new decaying landscape of soaring despair. [Sep 2014, p.91]

Hitchcock's own songs--especially Trouble In Your Blood and San Francisco Patrol--maintain the heartsick mood, drawing the corners of this record together into a beautifully measured whole. [Sep 2014, p.91]

Dry The River's contradictions result in an almost too-unified second release. [Sep 2014, p.98]

Only a dearth of melodic variations disappoints. [Sep 2014, p.93]

The result is an atmospheric sound, refined without losing its feisty, sometimes bitter vitality. [Sep 2014, p.98]

The bursts of industrial trash, though dexterous, feel superfluous. [Sep 2014, p.98]