Musically adventurous, sonically daring and really rather stunning. [Nov 2014, p.112]

Throughout, the sense of a man finding his own path is convincing. [Nov 2014, p.111]

[A] terrific fourth album. [Nov 2014, p.102]

Here they find wonderful refuge in stability. [Nov 2014, p.102]

It's the dreamy experimentation of Ethiopia and Side Effects that highlight the brothers deepening range. [Nov 2014, p.104]

It's by no means a classic but there's enough personality to suggest Hozier will be with us for the long haul. [Oct 2014, p.110]

The Marge Simpson of nu-soul continues to meander down her own path. [Nov 2014, p.112]

Jamie Treays has come back fighting and fighting brilliantly. [Nov 2014, p.117]

This is a very impressive, ambitious debut. [Oct 2014, p.113]

A grippingly dramatic latterday-Leonard-Cohen-alike near-masterpiece. [Oct 2014, p.117]

Soused remains a distinctly perverse pleasure. [Nov 2014, p.120]

What distinguishes Phantom Radio as a "band" project rather than a solo one is moot, but when the result is this good, who cares? [Nov 2014, p.114]

There are less stirring points--England, for instance, never really seems to move, and album closer Please Let Me Let It Go is a little too somnambulant. [Nov 2014, p.104]

Bainbridge reveals himself here not as an exhaustingly pseudy hipster but rather a songwriter of singular depth and emotion. [Nov 2014, p.114]

There's a compelling quality to mainman's Dave Simmonett's lonesome laments that ensures the attention rarely wavers. [Sep 2014, p.115]

2 Bears have hit a rich seam of easy-going melancholic euphoria. [Oct 2014, p.101]

A feat of ideas. [Nov 2014, p.117]

[The album] is in turns seething and sweet. [Nov 2014, p.115]

It's mainly successful: co-written with Ed Sheeran, new acoustic single Say You Love Me may ebe a relation of Extreme's More Than Words, but elsewhere stories are told more vividly, with non-showboating vocalist Ware infusing the songs with restrained emotion. [Nov 2014, p.114]

24 Karat Gold appeals because it's a new Stevie Nicks album that sounds just like an old Stevie Nicks album. The downside is that the modern-day Stevie faces some stiff competition from her younger self. [Nov 2014 p.110]

Danilova's vocals occasionally get bogged own in the contemporary pop production, but this foray from murky fringes into the mainstream deserves success. [Nov 2014, p.121]

For the majority of Tyranny, it's almost impossible to understand what's going on or why. [Nov 2014, p.121]

Step Back is better when Winter plays it straight. [Nov 2014, p.120]

A mostly stylish mix of indie nous and Hollywood glitz. [Nov 2014, p.120]

There was always more going on inside that pretty head than met the eye. On his first release since disbanding My Chemical Romance, you may struggle to hear what that is. [Nov 2014, p.120]

Though you might struggle to dance to it, Punish, Honey is an unexpectedly saucy missive from the serious electronic underground. [Nov 2014, p.119]

It still comes from within a hydroponic fug of sedated beats and mumbled vocals. However, there's also a renewed sense of self. [Nov 2014, p.119]

This all-original 20-tracker works even better as an intimate, end-to-end, night-drive companion than a snack tray despite Williams's often grueling vocal intensity. [Nov 2014, p.119]