White Women has all the depth and staying power of a Christmas cracker joke. [Jun 2014, p.106]

Herd Runners is ambitious and emotionally enthralling throughout. [Jun 2014, p.106]

It's genuinely exciting to think where The Horrors might go from here. [Jun 2014, p.105]

A must-listen if you know the infield fly rule, but not so essential if you don't. [Jun 2014, p.104]

What might have been a solid, politically-tinged LP is let down by poodle-yelped vocals. [Jun 2014, p.104]

The debt to electronic pioneer Jean Michel Jarre's Oxygene is obvious, but it's a compliment to say this is guaranteed to send you to sleep. [Jun 2014, p.104]

They sand down their raucous edges for a more playful psych-pop sound. [Jun 2014, p.103]

Not always easy to decode, but worth the effort. [Jun 2014, p.103]

Auerbach and Carney don't tear up their blueprint, but tripping out their sound suits them. [Jun 2014, p.102]

The original beats are still as fresh and inviting as a newly changed bed. At 10 tracks, Illmatic is satisfying lean and cohesive--remarkably so for a hip-hop album with five producers. [May 2014, p.125]

This willfully obscure yet eerily beautiful music sounds all the more absorbing in remastered form. [May 2014, p.124]

This third LP has all the Afrobeat pioneer's brute power, if little of his subtlety. [May 2014, p.113]

Their determination to get further and further out there is undimmed on this, their 26th(!) album. [May 2014, p.115]

It's a sound that can be as unsettling as it is melodic but at its best its hypnotic and all their own. [May 2014, p.108]

Distinct high and lows are lacking, the songs blurring like a long night, but Green remains a mistress of her mood. [May 2014, p.110]

A step backwards. [May 2014, p.121

For a man who continues to spell his surname with two dollar signs, his act is lacking in real drama. [May 2014, p.121]

It occasionally goes Heartbeat but Jackson largely swerves pastiche with his knack for limpid romanticism and muzzy atmosphere. [May 2014, p.120]

Holly balances a nostalgic timelessness and modern, urgent emotions. [May 2014, p.120]

The acoustic-leaning song-cycle Hendra presents mature reflections on memory and loss. [May 2014, p.120]

The mood is one of eerie dread as the music slowly unfurls in stately fashion, the rhythms frequently mimicking a horse's trot. [May 2014, p.119]

The combination of dreamy pop noir and the remorseless quality of the tunes suggest they'll soon be both big and clever. [May 2014, p.119]

Decent enough, but still not up to their best. [May 2014, p.119]

This 35-minute suite is hypnotically cinematic, skillfully orchestrated. [May 2014, p.119]

Not the breakthrough they crave but a highly engaging 45 minutes nonetheless. [May 2014, p.118]

SOHN is partial to sampling his own voice to augment the wounded confessionals. They stutter rhythmically and mix with a patchwork of minimal yet intricate electronics and low end beats to spine-tingling effect. [May 2014, p.118]

Twisty and characterful, this is frequently dazzling stuff. [May 2014, p.118]

An album that manages to pile on fresh, innovative production without drowning out the frequently spectacular songwriting. [May 2014, p.118]