At best the new songs are bright, '70s soulful confections but too much will give you toothache. [Apr 2013, p.98]

Though Old Sock ultimately feels somewhat stop-gap, it genre-hops beautifully, Clapton and friends reliably able. [Apr 2013, p.86]

New stuff for him every bit, from pain to process, and consequently unprecedented in his previous work is the sweet melancholy measure of his voice. His songwriting, too, emerges liberated, lyrics forged, melodies flowing. [Apr 2013, p.86]

It's difficult to tell how much post-production has been done and how much the record truly reflects Marie's artistic vision. Even so, it's a good listen. [Apr 2013, p.90]

Unbalanced and unrelenting, it's a fascinating album, if difficult to enjoy. [Apr 2013, p.90]

Steve Mason's second album under his own name is more melancholy meander than Molotov Cocktail. [Apr 2013, p.95]

It's more showbiz than authentic, being knee-deep in the kind of epic balladry that wouldn't be out of place at Eurovision. [Apr 2013, p.91]

A hell of a production. [Apr 2013, p.87]

Possibly an album for Boz's benefit more than anyone else's. [Apr 2013, p.91]

The Electric Word now reveals the Reverend brothers Gean and Tommie West's vocal gospel-soul power utterly undiminished by time. [Apr 2013, p.96]

A mixed bag. [Apr 2013, p.96]

Some have been admirable attempts to anthologise the best of his post-Experience work. others are more dubious. This latest set falls somewhere between the two. [Apr 2013, p.105]

Wilson's Raven can sound magpie-like--with jazz-rock joining the classical prog references--but tunes as lovely as Drive Home or the slow-burning title track remind you that he has a vision that's all his own. [Apr 2013, p.94]

Truly cinematic and imbued with humour and pathos, popcorn not included. [Apr 2013, p.94]

Rocky bests every beat thrown at him. [Apr 2013, p.94]

There are plenty of twisty turns, and more than a dollop of cynicism and cheek, to ensure that this latest comeback earns its rightful place in the CVB canon. [Apr 2013, p.90]

Whitley's is an unconventional neo-soul debut. [Apr 2013, p.98]

Piano and guitars soar vertiginously; lyrics are bittersweet or pleasingly surreal. [Apr 2013, p.98]

Agreeably retro psych-pop from New Zealand. [Apr 2013, p.98]

Folky, fragile songs and others built on washes of guitar effects. [Apr 2013, p.98]

Graffiti on the Train may be a conduit to pastures new, but it's two steps forward, one step back. [Apr 2013, p.96]

Love From London once again shows his ability to reconcile the sheer peculiar wonder of being alive. [Apr 2013, p.96]

The balming glow of the Sparhawks' sunray-through-clouds harmonies, their surfeit of haunting, enigmatic melodies, makes immersion in The Invisible Way's melancholia a sublime pleasure. [Apr 2013, p.96]

150 minutes of challenging, organic electronica. [Apr 2013, p.95]

Devotees of J Dilla and Flying Lotus in particular should investigate. [Apr 2013, p.95]

Les Revenants is more about establishing a complex, unsettling atmosphere than slashing Bernard Herrmann-esque quiet/loud dynamics. [Apr 2013, p.90]

It's one of those records where less is most definitely more. [Apr 2013, p.90]

They produced 11 perfect songs defined by sweet, honeyed vocals and spiritual uplift. [Apr 2013, p. 90]