A sameness of mood is not helped by debatable lyrics. [Apr 2014, p.106]

The orchestral pieces with their abrupt phrasing and lumpen scales, merely sound like one of those conceptual "jokes" no one except artworld insiders are in on. [Apr 2014, p.105]

Like a violent assault by a Moshi Monster, it's fluffy, frightening and utterly overwhelming. [Apr 2014, p.105]

This is wishy-washy music for moody goth-lite teens. [Apr 2014, p.112]

Not his most graceful, but certainly his most strikingly personal, Benji is another colourful stop on Kozelek's glorious journey into the light. [Apr 2014, p.119]

The country reggae of the title track may be too far for some, but mostly Speer's country art-rock with a side of Southern fried is damn tasty. [Apr 2014, p.106]

While their new setting can't quite extinguish their thoughtful charms, it has trampled on their mystique. [Apr 2014, p.103]

There are unnerving, alone-in-the-forest atmospheres aplenty here. [Apr 2014, p.108]

The Brighton duo's fourth LP, recorded in Berlin, throws that baggage away in favour of a cavalier hedonism. [Apr 2014, p.105]

They've never sounded heavier, now delivering songs without compromising their complex songcraft. [Apr 2914, p.103]

Blatant Queen rip-off Heaven Knows is fun, but it all goes wrong when she breaks out ballads. [Apr 2014, p.116]

Although things quieten down on the pseudo-R Kelly front as the record progresses, the squirm factor never totally vanishes. [Apr 2014, p.106]

Symphonica feels supper-club safe. [Apr 2014, p.103]

Ultimately, this 11-track LP is nine songs too long as the rest swill around the bottom of the indie-rock barrel like thin gruel. [Apr 2014, p.121]

It's a stripped-down and straight-ahead rock record. [Apr 2014, p.121]

It's charming, tuneful stuff, rich in canonical cool. [Apr 2014, p.121]

The slower numbers, built around pneumatic electro basslines and memories of Giorgio Moroder soundtracks, aren't as slick, though 58BPM's is a stylish, slow-motion homage to the neon-lit world of '80s synth-pop. [Apr 2014, p.120]

Much as Get Direct and New Year's day cry to be fleshed out, the reggaefied Ask Me suggests another way forwards, while the fiercely intelligent songs Shame and Stay sum up all that's right about this most singular artist. [Apr 2014, p.112]

Post-punk might not be new, but like their name, with a few tweaks and some bold personality Eagulls have defiantly made it their own. [Apr 2014, p.108]

They're on terrific form. [Apr 2014, p.106]

Mount's intoxicating amalgam of past and present is the real thing. [Apr 2014, p.114]

The overall impression is one of a band who are now masterfully in control of their craft. [Apr 2014, p.111]

The occasionally super Supermodel is an album of transition rather than a definitive statement. [Apr 2014, p.113]

The concept might sound dry, but Bertelmann's kinetic approach always sound alive. [Apr 2014, p.110]

The Black Lips are on consistent and disreputable form throughout. [Apr 2014, p.104]

It's a record for dusk, for dawn, and for all of the dark corners in which you might find yourself in between. [Apr 2014, p.109]

Mirror's In The Sky's bewitching yet minimal folktronica [is] dominated by the most rudimentary of beats and weird little keyboards. [Apr 2014, p.109]

Liars' untidy room remains a wonderful place to visit. [Apr 2014, p.113]