One of the missed opportunities of Cass Country is that it isn't especially revelatory about Henley, as a man in late-middle-age taking stock of his life. As a country album, it is perhaps a little too neat, a little too polished. [Nov 2015, p.68]

If anything, this is more consistent and satisfying record, one that emphatically places her at the forefront of modern roots music. [Nov 2015, p.72]

The arrangements are pleasingly stripped back--perhaps too much so for those powerful. [Nov 2015, p.73]

Caracal has the market in mind, but not at the expense of quality. [Nov 2015, p.75]

Allas Sak marks another gentle shift in direction for Gustav Ejstes, and though Dungen are not saying anything new, they're at least articulating timeless emotion in a classy fashion. [Nov 2015, p.75]

This certainly feels like a rebirth. [Nov 2015, p.79]

All A Man Should Do is a thing of considerable depth and sensitivity. [Nov 2015, p.79]

It is, for Pole, a breath of fresh air. [Nov 2015, p.80]

What could be tokenistic gels well. [Nov 2015, p.81]

An adept stylistic reboot. [Nov 2015, p.83]

These songs are pretty, but something intense seethes just beneath the surface. [Nov 2015, p.83]

The band pursue numerous fractured trends through a breakneck 34 minutes and manages to corral them into an acid-drenched but cohesive whole. [Nov 2015, p.83]

These songs offer a smart inversion of the usual gender roles in mainstream music, all set to a propulsive, bass-heavy backdrop. [Oct 2015, p.81]

While the programmed beats are generic, his fleet-fingered guitar work shimmers with the high-end wit that powers a batch of hooky, sharply drawn tunes. [Oct 2015, p.75]

It's an immersive and emphatically pulsing ride along Detroit techno lines. [Oct 2015, p.77]

Sometimes, beats and basslines are distinct; other times, as on "Mysteries" and "Lighthouse," you just get a sense of them, as structure dissolving into mist. [Oct 2015, p.78]

Strikingly immediate, yet also rewarding repeated immersion, the 10 tracks here are, just as Forster intended, amusing, infectious and relaxed. [Oct 2015, p.65]

Lush, lightly electronic chamber-pop arrangements dominate. [Oct 2015, p.84]

As the LP continues, you are progressively engrossed. [Oct 2015, p.84]

With Have You In My Wilderness her songs feel brighter, more pop, yet they're also just as lush, as considered and as quietly experimental. [Oct 2015, p.77]

This Terrific follow-up is even better, the quartet unloading a clamorous set of songs full of pique, provocation and waspish humour. [Aug 2015, p.77]

Ultimately Artificial Dance, stiff and self-aware, is easier to admire from afar. [Oct 2015, p.94]

Though nothing here quite matches the melodic and emotional force of their first-album anthem "The Mother We Share," the quality threshold is high throughout. [Oct 2015, p.73]

There is so much on Nashville Obsolete that impresses, but what lingers longest is rare and persuasive ability to tap into the ageless mythos of true American folk. [Oct 2015, p.85]

A confident advance on 2012's Rhythm And Repose. [Oct 2015, p.77]

Pagans' first half dazzles.... The album closes with eight minutes of psedo-Vangelis twaddle. [Oct 2015, p.80]

Rattle That Lock turns out to be a modest achievement for the most part. [Oct 2015, p.82]

The Alvins' follow-up [to Common Ground] is highly expansive in a focused way. [Oct 2015, p.69]