All told, it's an awful a lot to listen to, but the scope is majestic, the ambition outrageous and the music magnificent. [Jun 2015, p.72]

[Producer] Wally Gagel, who helmed the 2013 EP "Fade Away" and now California Nights, gets it right, cranking up the reverb and multiplying Cosentino's vocals to achieve the Spector-esque wall of sound the duo has been aiming for. [Jun 2015, p.71]

Through it all runs an ingrained psychedelic streak which is organic rather than synthetic, James and co tripping out on the glory of a sunset, a beach at dawn, a mile-high mountain view. [Jun 2015, p.68]

A set of 14 patrimonial ballads drawn from all corners of Britain's folk heritage. [Jun 2015, p.69]

On occasion, the production on Who IS The Sender? threatens to swamp the plain-speaking poetics of Fay's lyrics with soupy sentimentality.... But just as often, producer Joshua Henry correctly gauges the tenor of these songs. [May 2015, p.74]

It's the thump and clatter of a 1950s backbeat filtered through the boogie of 1970s glam-rock. [May 2015, p.71]

Colours Of The Night is mostly served well by the extra hands, the songs breathing with quietly assured movements. [May 2015, p.71]

So distinctive and confessional is Eska's voice that she's created a British pastoral music that defies classification. [May 2015, p.73]

If the results are amiable rather than arresting, at this far down the road, that's surely enough. [Apr 2015, p.75]

Ba Power feels like another dramatic leap forward and a further landmark in the integration of African tribal rhythms and western rock'n'roll. [May 2015, p.85]

No News more or less repeats the formula {of its 2013 debut], with equally pleasing results. [Apr 2015, p.76]

They've delivered a less disposable, more reflective and yes "mature" set with their latest. [May 2015, p.83]

Pokey LaFarge's seventh long-player echoes and expands his mastery of bygone styles. [May 2015, p.75]

There is much to enjoy in The Past We Leave Behind's darker moments. [May 2015, p.78]

Jackrabbit is two songs and three interludes of grandiose, tuneless narrative better suited to Broadway. [May 2015, p.80]

This terrific second album from the ex-jazz singer Shah carries with it a clear air of assurance. [May 2015, p.81]

While some of N.E.W. feels a little undercooked, there are also fantastic moments. [May 2015, p.71]

It's a dynamic soundbed for her arresting singing. [May 2015, p.77]

It's edgeless, overly polite, and arranged within an inch of its life. There's little room to move. [Apr 2015, p.71]

It may be their best yet. [May 2015, p.71]

A fast-paced, multi-faceted, furiously entertaining record that reveal hidden emotional depth. [May 2015, p.79]

The resulting jams throw up a wonderful ragbag of styles, the highlight being a tribal drum stomp called "Metal." [May 2015, p.83]

You can't help but be charmed by the sincerity of these beautifully crafted homages. [May 2015, p.81]

Foil Deer is catchy, exhilarating and smart. [May 2015, p.81]

The debut LP by Elias Bender Ronnenfelt's new project feels more daring still. [May 2015, p.77]

Some of the vocal numbers feel like cluttered indie-dance throwbacks, but they are outshone by pure electronic creations. [Apr 2015, p.80]

Generally these doomy, comatose soundscapes all sound drearily similar. [May 2015, p.78]

Even if the attitude feels snarly and confrontational, the craftsmanship speaks of deep love and high-level musicality. [May 2015, p.81]