Only one track matches the flaming cannonball energy of their single, "Politicians In My Eyes"; the herky-jerky "North Street," which is as much funk as punk. [May 2014, p.77]

It's only unfortunate that such a master of making Rick Ross albums must live in a world where there are already five other Rick Ross albums. [May 2014, p.74]

The new Infamous is good enough, another in the sting of solid but unremarkable rehashes of the original formula that both members have been trickling out for years now. [May 2014, p.74]

The pleasures of Reachy Prints are deceptively complicated, and it's another masterclass in how lightness needn't be thin or naive. [May 2014, p.72]

Volume X [is] their best album since 200's The Red Line. [May 2014, p.70]

Despite the dubious company he keeps, McMahon's ambient folk pop remains beguiling. [May 2014, p.70]

This is not the Wand record to spin while you do the chores, but it is, the one you might spin when you're looking for reasons to keep on living. [May 2014, p.69]

Most intriguing are the hi-tech elements that flicker past, adding a hint of touch screen technology to the contemporary urban space. And the snatches of pirate radio speech--now Wen's signature--are engrossing. [May 2014, p.69]

To Be Kind is even moodier and more desolate than 2012's The Seer.... The more structured, traditional tracks don't cut quite as deep, largely because they echo other groups, at times overtly. [May 2014, p.68]

It's hard not to feel that this dense conceptual flotsam is arranged around a lucuna. [May 2014, p.67]

The mirth on offer here is thin fare, for the most part. [May 2014, p.63]

Becs is something of a return, then, but equally it demonstrates that the guitarist's approach to pop composition has developed considerably over the past 13 years. [May 2014, p.83]

Frost's most fully realised work to date. [May 2014, p.62]

Aside from the odd flurry of inconsequential Afrobeat-inflected guitar, the style of Someday World is middlebrow session fare. [May 2014, p.61]

Would their punk model work for a Stravinsky cover, with its unique challenges? The answer given by this recording is a resounding yes. [May 2014, p.58]

Da Mind of Traxman Vol 2's density feels cryptic, a series of questions posed to listeners and the floor. [Jun 2014, p.57]

Without a doubt these are good songs, and Osborne's vocal is always ear grabbing. But I'd love to hear the full band versions they deserve. [Jun 2014, p.55]

What is most striking about Why Do The Heathen Rage?, Which reworks Black metal songs as electro, house and techno, is how intelligently respectful it is. [Jun 2014, p.55]

This album is not afraid of discord or rhythmic slippage, but it's delivered with an assurance that his experience and discography allows. [Jun 2014, p.51]

A sense of cluelessness pervades these songs, as though constructed without considering why or for whom they were intended. [Jun 2014, p.51]

Somehow the music manages to be deeply exotic and familiar at the same time. [Jun 2014, p.50]

What unites them is the boldness of the material and their treatment of it. [Jun 2014, p.48]

Electric Brick Wall isn't as groove based as the previous album, but it's an even more complex, discomfiting listen in many respects. [Jun 2014, p.48]

[The album] is so blatantly, almost self-consciously pleasurable it should come, like an insalubrious takeaway, with heavy duty napkins. [Apr 2014, p.65]

It isn't always the role of political music to come up with solutions. But nothing could be more urgent than the questions SLeaford Mods pose. [Apr 2014, p.58]

This one hits the mark more confidently, with all the earthiness she once brought as foil to John Martyn's aerier levitations. [Apr 2014, p.57]

I Shall Die Here's meeting of stark electronic textures and rhythms with monstrous guitars evokes Godflesh's Pure. [Apr 2014, p.63]

Minimal Rock N Roll is at its best when hinting at former glories. [Apr 2014, p.63]