Best Of Times lacks the spark of the melodically blessed and, even though there are regular nods to Krautrock, there's a cloying wimpishness that too often derails them. [Apr 2014, p.115]

[When Paloma] revert to classicism, she proves there's more than one way to skin the "vintage" cat by adopting the persona of an exuberant disco diva, invoking the spirit of '70s glitter ball goddesses such as Teena Marie or Alicia Bridges. She wears it surprisingly well. [Apr 2014, p.108]

The music works best when combined with the lurid wit and fruity, odd sonics deployed. [Apr 2014, p.115]

The performances reflect his wind-down way. [Apr 2014, p.96]

His septuagenarian's enthusiasm is undeniably infectious. [Apr 2014, p.119]

No album with a nursery rhyme like Bongo Bill takes itself seriously, but even when he tackles the titular Persephone having her eternal hippy idealism rudely punctured, there's still a kindly smile on Tilbrook's lips. [Feb 2014, p.121]

It's very good indeed, throwing in splurges of psychedelic colour, a hatful of great songs and some almost baggy grooves. [Apr 2014, p.105]

Sonic Bloom is about inch-perfect accuracy. In other words, re-enactment. Period. [Apr 2014, p.115]

Rainy's debut ends up as a near-perfect album from an approaching summer. [Apr 2014, p.117]

It's by no means awful; it's just as if Nirvana had recorded 12 versions of Territorial Pissings for Nevermind. [Apr 2014, p.105]

There's a deliciously tangy freshness to the massed voices and acoustic thrum. [Apr 2014, p.103]

[A] thoughtful solo debut. [Apr 2014, p.118]

At 15 tracks long there's occasionally some saggy moments, but with plenty of verve and sparkle in the main, The Melodic's debut proves unexpectedly life-affirming. [Apr 2014, p.115]

It's not ground-breaking, but Piano Ombre is a beautifully off-kilter record to lose yourself in. [Apr 2014, p.109]

Things unravel with the folky fuzz of closer Aphorismic Wasteland Blues, but for a band whose charm is enjoyably slack'n'sleazy that's kind if the point. [Apr 2014, p.112]

[This fifth album] still sounds refreshingly unconventional. [Apr 2014, p.116]

It's not hard to see where they're going--or coming from. [Apr 2014, p.121]

"I need to rebuild a gang spirit," Morrissey said, and you can hear exactly that quality in the album's best moments. [Mar 2014, p.122]

It's a good album. [Apr 2014, p.122]

Odludek feels more like a mixtape than a sole artist's work. [Apr 2014, p.107]

It's exhilarating in short snatches but too samey over the long haul. [Apr 2014, p.110]

It's not particularly pretty in places, but it is a hellishly good time. [Apr 2014, p.110]

It's a good sound, and he has past form here. [Apr 2014, p.120]

There's a definite vim here; all they need to do now is to add in a little more of their own DNA. [Apr 2014, p.119]

Despite its strengths, No Mythologies To Follow is still a touch green. [Apr 2014, p.115]

Too Much Information is a brisk and accessible record. [Apr 2014, p.114]

A hauntingly quiet triumph, Croz gets under your skin and stays there. [Apr 2014, p.114]

One of the oddest albums you'll hear this year. [Apr 2014, p.113]