The resulting arrangements are masterful affairs that frame LaMontagne's material with great taste and flair. [Jul 2014, p.90]

Heal's molten flow of grandiloquent '70s rock and '80s electronica is unstoppable. [Jul 2014, p.88]

Initial listens may suggest contrived incongruity. Further spins reveal the affectionate smarts behind these acts of desecration. [Jul 2014, p.87]

Familiar BJM territory perhaps, but they still inhabit a different, more enticing cosmos to their peers. [Jul 2014, p.87]

This is a resolutely up record, for the most part. [Jul 2014, p.92]

The Soderbergs seize the day. [Jul 2014, p.91]

The songs are rigorously infectious. [Jul 2014, p.96]

More non-threatening folk-pop. [Jul 2014, p.96]

An album of rich, intricate grooves that use house and techno merely as a jump-off point. [Jul 2014, p.94]

This will thrill those who believe Pavement's best album was their first. [Jul 2014, p.86]

At root, it's a heart-warming little curio. [Jul 2014, p.86]

It's an intriguing new incarnation for Bauer: Om and pop. [Jul 2014, p.88]

Celebrating both Big Bill and the Alvins' shared boyhood, this genial collaboration throws a warm light on both. [Jul 2014, p.89]

[A] slower tempii dominate the first half of Emma Jean, leaving the lapel-grabbing soul struts until the second half of the record. [Jul 2014, p.89]

Tobin's songs offer a more lucid warmth. [Jul 2014, p.96]

The soundtrack to blissful bucolic afternoons threatened by the black clouds of the coming apocalypse. [Jul 2014, p.95]

Glass Boys' legacy will likely be the Fucked Up record fans praise for its songs, rather than the risk-taking. [Jul 2014, p.95]

Throughout, a world weariness and wisdom far beyond John Fullbright's 25 years. [Jul 2014, p.93]

There's always a soulful undercurrent to James's work, exemplified by album's deliciously dream title cut. [Jul 2014, p.92]

Krell sounds like ha has taken a step back, seemingly trading his experimentalism for a more traditional blue-eyed soul route. [Jul 2014, p.91]

Here's a quiet rhapsody of twining acoustic guitars, cherry-sad reeds and songs that feel solid for a bit then slip away into dying-fall bluenotes and the kind of lines that provoke romantic poetic recollection. [Jul 2014, p.88]

The scale of the latter achievements suggest Kasabian and 48:13 will get by nicely with their existing fanbase. Whether this means many new converts is less certain. [Jul 2014, p.87]

The results are generally spectacular. [Jul 2014, p.93]

In no way startling, but elegantly put-together all the same. [Jul 2014, p.92]

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]

Beauty & Ruin--a lean, 12 songs in 37 minutes--finds Mould still monkeying with the formula. [Jul 2014, p.90]

CLPPNG is the work of hip hop auteurs delivering the shock of the new. [Jul 2014, p.88]

Await Barbarians reminds of Alex Chilton or even Liam Hayes's earliest music as Plush. [Jul 2014, P.87]