Their choice of covers is pretty eclectic, from Sade to Spiritualized via obscure '70s rocker Unicorn. They're best when more animated. [Aug 2015, p.76]

It shuns the cliches of oceanic atmospherics. [Aug 2015, p.73]

There's a new muscularity to Pete O'Hanlon's basslines, while guitarist Josh McClorey employs a broader range of techniques to stretch the band's sound. [Aug 2015, p.81]

Array 1 hints at unfinished business, picking up almost where A Gilded Eternity left off. [Aug 2015, p.76]

Born In The Echoes feels a bit Chemical Brothers by numbers. [Aug 2015, p.72]

Their syrupy soft-rock instrumentals, here in abundance, stacked like fluffy breakfast pancakes, are moreishly, but the gimmick wear thin pretty quickly. [Aug 2015, p.78]

A deft patchwork of stories and impressions largely drawn from first-hand experience. [Aug 2015, p.72]

There's rich melodies buried in many of these tracks. [Aug 2015, p.73]

There's something of the teenage Laura Marking about Rachel Sermanni. [Aug 2015, p.78]

Something More Than Free finds Isbell sounding surer of himself, as a songwriter and a man. [Aug 2015, p.79]

Like all perfumes, its impact fades. [Aug 2015, p.71]

This is a wild and dirty, devotional trip that peaks with the shrieking, delay-warped minutes that constitute closer "E Shra." [Jul 2015, p.84]

In places she sounds surprisingly like Andrea Corr, but she;s a winningly melodic songwriter. [Aug 2015, p.78]

Williamson is good at painting Hogarthian grotesques in a few brushstrokes. [Aug 2015, p.70]

Currents may be equally exhilarating to any listener willing to adjust to Tame Impala's new paradigm. [Aug 2015, p.65]

While Winfield's pompous lyrics and over-earnest tone sometimes grate, the supple disco-funk of "Sparks" shows definite promise. [Aug 2015, p.81]

It's a rather bloodless and oddly dated set. [Aug 2015, p.76]

His sax-heavy third solo album blows its own horn. [Aug 2015, p.75]

On Subculture, The Selecter's dismay at the world is as powerful as ever. [Jul 2015, p.81]

It's not only Jones' most absorbing album since 1997's beats-drenched Ghostyhead, but a record that crowns her career, not as an end but as a culmination. [Jul 2015, p.85]

A rich, nuanced, fantastically enjoyable album that understands great music is often the product of a historical continuum rather than radical innovation, and which saves its best trick 'til last. [Aug 2015, p.82]

Sassy power ballads such as "Before I Sleep," "Sweet Love Of Mine" and "Not Good Enough" sit somewhat uneasily between Celine Dion and Stevie Nivcks. Yet as the album progresses, there's just enough to retain the interest of former fans. [Aug 2015, p.83]

Ten Songs keeps his audacious past and redemptive present in balance. [Aug 2015, p.89]

It feels as if this album is only half the intended project. It's a strong half, fortunately. [Aug 2015, p.81]

Rich with amped-up fiddles, mandolins, accordions and harmonies, it's vibrant, hook-laden and addictive. [Aug 2015, p.77]

A confident debut, a record that is greater still than the sum of its impressive parts. [Jul 2015, p.74]

The breadth is a big part of the charm. [Jul 2015, p.83]

Weirdly wonderful. [Jul 2015, p.78]