It's bigger and brighter. [Mar 2015, p.119]

If their emergence appears low-key, Everything Ever Written is a quietly triumphant return. [Mar 2015, p.110]

Garwood's gruff whisper can't touch Lanegan's death rattle, but it lets him slip in the odd love song without sounding like he's sketching a suicide pact. [Mar 2015, p.106]

Thirty-something mother-of-two Giddens's versatility is breath-taking. [Mar 2015, p.108]

Creditably, it strives for depth--political, lyrical and musical--but Happy People gets stuck in the shallows. [Mar 2015, p.113]

He's less convincing when he rocks, but he understands both depth and beauty. [Mar 2015, p.104]

This all Peters's show as she shines a light under some very dark roots. [Mar 2015, p.114]

Aside from 1%'s hushed moments, they're stuck in a rut. [Feb 2015, p.109]

This is an often astonishing record. [Feb 2015, p.112]

Grote can at times sounded penned in by the relative straightness of the source material, yet this is an enjoyable noisy debut. [Mar 2015, p.106]

Roberts inhabits this work so entirely you can't really imagine him trudging through the same grey world as the rest of us. [Mar 2015, p.114]

[Sisters Rachel and Becky Unthank] are adept at finding new connections, new paths. [Mar 2015, p.118]

There's breezy charm to much of the music here. [Feb 2015, p.117]

By digging deep The Charlatans have made their best album in a decade. [Feb 2015, p.111]

Full marks for originality, then, but it's definitely something you have to be in the mood for. [Mar 2015, p.116]

Too busy and extreme for some tastes, this is still a dizzying proposition. [Mar 2015, p.105]

The odd lapse into trying to show how clever they are aside, O Shudder is the step up Dutch Uncles needed. [Mar 2015, p.106]

The broadening of the palate is certainly welcome but there still remains a nagging sense that, over a whole album, a lack of emotional heft renders them as frothy as ever. [Mar 2015, p.110]

We Are Undone is just a little too well put together to convince. [Mar 2015, p.118]

This is music which feels as though it needs to be tethered down, lest it slip its moorings and float higher than the sun. [Mar 2015, p.115]

A collection that delves deeper than her previous albums. [Mar 2015, p.111]

This is graceful and elliptical songwriting. [Mar 2015, p.109]

It might be largely business as usual, then, but for all that A Place To Bury Strangers remain strangely comforting presence in an otherwise turbulent world. [Mar 2015, p.103]

For its black lyrical humour alone, I Love You, Honeybear would be a winner. The fact that it's matched to towering songwriting makes it masterful stuff. [Mar 2015, p.107]

He mostly rises to the occasion. What the vocals lack in beauty, they make up in expressiveness. [Mar 2015, p.112]

An intriguing record, it takes bending acid-folk as its base camp but is at its most interesting when exploring more unexpected musical universes. [Feb 2015, p.110]

Papa Roach may be a band out of time, but there's life aplenty here yet. [Feb 2015, p.113]

The restless desire to cross-pollinate disparate musical genres doesn't always work. [Feb 2015, p.113]