Disparate but cohesive. [May 2015, p.69]

Infinite House sounds like a less precious Dirty Projectors swagger toward that rare place where unashamed intellect meets accessible pop. [May 2015, p.69]

Nine luminous, clean0lined songs focus on love's myriad complexities. [May 2015, p.84]

The best cuts have staying power. [May 2015, p.80]

The result is pure pleasure as Black takes the trademark Brewis sound and ramps up the funk on groove-driven art-pop gems. [May 2015, p.81]

This appears to be a case of limited resources and/or dubious decisions undermining a potentially captivating album. [May 2015, p.76]

Another illustration of the breadth and generosity of this remarkable group's vision. [May 2015, p.72]

They pull off shifts in mood and tone with routine aplomb. [May 2015, p.83]

He always wants to explore idiosyncratic digital terrains: admirable but, as his 24th LP shows, not always convincing. [May 2015, p.80]

Charms abound. [May 2015, p.73]

John Darnielle shares Haines' nostalgic affection for the stars of Martial pantomime, and deploys his deadpan indie rock and trademark wordiness to fine effect. [May 2015, p.78]

Wilson's chord changes are as heart-wrenching as ever, and bathed in heavenly harmonies. [May 2015, p.84]

His debut LP married experimental electronics and alt.pop. Now, he takes a giant step closer to the latter. [May 2015, p.73]

After a promising start, the LP soon defaults to a brand of quirky, over-stimulated electropop that doesn't really do justice to Woodhead's smart, conceptual lyrics. [May 2015, p.72]

Recording in an African village with a laptop and local musicians lends a more organic feel than previous releases. [May 2015, 84]

It's odd to praise a record for lacking assurance, but her avoidance of contrived resolution feels appropriate. [May 2015, p.84]

This fourth album owes obvious debts to classical cerebral dream pop. [May 2015, p.83]

At its best, The Magic Whip thrums with ideas and possibilities. [May 2015, p.65]

A couple of bratty, clunky bursts in the vein of the self-titled first album spoil the mood slightly. [May 2015, p.72]

Boz and co get under the skin of consistently evocative songs from the likes of Curtis Mayfield, Bobby Charles, Al Green and Bobby Charles. [May 2015, p.80]

Malin would've been wise to trim the 13 songs down to 10, thus eliminating the soggy middle of this otherwise crisp platter. [Apr 2015, p.80]

It's an understated yet absorbing work, full of delicate arrangements that are elegantly swept along by Stables' gloriously tender vocals. [May 2015, p.83]

A solid set of songs. [May 2015, p.81]

If these 13 tracks recorded between 1996 and the early 2000s can't match the perfect cohesion of the parent album, the collection's calling card is its diversity. [May 2015, p.93]

The record is as intimate and low-key as an evening home with friends. [May 2015, p.84]

The resulting batch of picture-perfect recreations reveal Tuxedo as a one-trick pony, but it's a wicked clever one. [May 2015, p.83]

[The album] follows a familiar trajectory: martial climaxes and blackened ambient passages, bombast and afterburn. Rarely, though, has that trajectory been charted so effectively. [May 2015, p.82]

Freedom Tower showcases three men who grasp that great rock'n'roll can be at once rudimentary, virtuoso and preposterous. [May 2015, p.80]