This Montreal master proves himself, yet again, a consummate songwriter and master of atmospherics. [Jun 2015, p.84]

Writing separately, frontman Rim Wilson and multi-instrumentalist Ryan Carbury have come up with material that falls between the Broadway musical and the motivational speech. [Jun 2015, p.77]

Smart, sexy stuff. [Jun 2015, p.84]

Hardy's agile vocals and lyricism are never in doubt, but shine brighter on light touch arrangements. [Jun 2015, p.76]

With I Can't Imagine, she's hit on the right combination of inspiration, kindred spirits and setting. [Jun 2015, p.78]

There's a strangely disarming quality to Rose Windows' second album. [Jun 2015, p.80]

Quieter, more ethereal tracks such as "Lone Wolf" have less of an impact, showing that Landshapes are at their best when they're loud. [Jun 2015, p.77]

An album that frequently feels to be about growing pains, Sprinter may, like its predecessor, not quite be Mackenzie Scott's defining moment. All the same, it shows enough promise that we should take that as a profound positive. [May 2015, p.68]

Short, but invigoratingly sweet. [Jun 2015, p.77]

What most impresses is its warmth, dynamism and unforced difference. [Jun 2015, p.84]

A touch of monotony creeps in, although they keep it at bay through sheer volume on the closing, eight-minute "Harpooned." [Jun 2015, p.84]

Mostly these dry, derivative, rather dreary songs of endeavour are a hard slog. [Jun 2015, p.84]

The set is more interesting the more it delves into the songwriter's prodigious output, generally beefing up what it finds. [Jun 2015, p.81]

The band are at their best when they put their heads down and rock. [Jun 2015, p.83]

A wonderfully anomalous effort. [Jun 2015, p.81]

A genuine 2015 classic. [Jun 2015, p.77]

There's a softness and elegance to Trickfinger. [Jun 2015, p.83]

He roughs up synth-wave and jungle on "Apathy" and "Fading," but does so with a certain tenderness. [Jun 2015, p.81]

Impressively, Gardner's instrumnetals such as "Grey Lanes" and "All Over" show how he can effectively summon up an exquisite nostalgia for an invented '60s. [Jun 2015, p.76]

Stetson and Arcade Fire violinist Sarah Neufeld dart and dovetail elegantly, h er playing the piercing counterpoint to his imposing low end. [Jun 2015, p.81]

A record that comes on like a loving homage to the venerable Seattle label's gnarly rock of yore. [Jun 2015, p.80]

Abandoning their trademark has forsaken their identity. [Jun 2015, p.80]

Open-hearted vulnerability is what sets them apart--the desire to be cool dissipates with age, leaving them to restore funk, the album's major underpinning, to its maximalist glory following years of sublimation from bedroom musicians. [Jun 2015, p.76]

Weller's 12th solo album is characterised by cut-ups and sound collages, built around riffs and grooves. There are fadeouts and fade-ins mid-song, vocals come heavily treated, instruments are strafed with sound effects. Essentially, Weller is making a virtue of his processes. [Jun 2015, p.65]

The sense of fun has dissipated on Born Under Saturn, an hour of faintly psychedelic heads-down boogie. [Jun 2015, p.75]

It never quite matches the promise of the excellent opening half. [Jun 2015, p.75]

Much of that atmosphere [from previous albums] remains on Captain Of None, thanks to whispered vocals and a focus on the courtly pluck of a viola da gamba. [Jun 2015, p.73]

Funny, smart and so elegantly poised. [Jun 2015, p.73]