It's a risky move [a change in sound] that has nonetheless reaped rewards. [Feb 2015, p.77]

10 Futures propulsive blend of soul-pop and electronica sees him indulging a more experimental side, making it a satisfying proposition all round. [Feb 2015, p.73]

They've unleashed the rock monster within. [Feb 2015, p.87]

Their best work moves beyond pastiche into broader sonic terrain. [Feb 2015, p.82]

It is ambitious music, even compared with Big Inner and it also sounds rich with potential. [Feb 2015, p.67]

The Musicianship is on point, the recoding crystal clear. But as a listener, it feels difficult to penetrate the album's inky darkness, and you suspect they like it that way. [Feb 2015, p.77]

A confident take on sleek, horn-powered Philly soul with a hunt of garage muscle. [Feb 2015, p.78]

A paucity of strong tunes remains his Achilles heel, but no-one else does wasted decadence with such persuasive panache. [Feb 2015, p.80]

These are new songs that sound like the old songs, the kind you might treasure 'til your vinyl is pockmarked and warped. [Feb 2015, p.86]

The sound is monumental, the lyrics discursive. [Feb 2015, p.87]

They've developed a needling, post-punk style that nods to Joy Division, Gang Of Four and Shellac. [Feb 2015, p.84]

A dynamically nuanced, nine-song set that conjures real-world wonders as convincingly as a doomed voyage to some imagined, far-flung galaxy. [Feb 2015, p.82]

It's all likable, seldom revelatory. [Feb 2015, p.80]

There's nothing revelatory here, but it's good to see Hayes being so productive. [Feb 2015, p.77]

Something more intimate and traditionally crafted, exploring the highs and lows of human interaction. [Feb 2015, p.77]

Restriction certainly has its moments, but you have to wade through a lot of dross to find them. [Feb 2015, p.73]

Wallflower is quintessential adult pop, with solid if predictable selections. [Nov 2014, p.76]

The extra care and attention to production and arrangements has paid off, making Man It Feels Like Space Again as consistently enjoyable as their older albums were unevenly thrilling. [Feb 2015, p.85]

For all the haunting, dislocated atmospheres here, Coombes still has an ear for melodies. [Feb 2015, p.75]

An out-of-time treat. [Feb 2015, p.73]

It's the sense of a nuanced beat group finding their own path beyond Sonic Youth and My Bloody Valentine that's most compelling. [Feb 2015, p.99]

This lush hybrid of electronica, jazz and modern classical forms is one of the most beautiful accidents in Ripatti's long and prolific career. [Feb 2015, p.84]

The repressive weight of the production creates a micro-climate that's compelling to move through. [Feb 2015, p.83]

Kozelek's latest aims for a similar kind of dolorous charm, plus Spanish guitar, and often succeeds. [Feb 2015, p.80]

Production-wise it tips a brim to the jazzy psych of the Brainfeeder crew, with some very gnarly riffs chopping through the boom-bap. [Feb 2015, p.77]

Nothing Important offers more of idiosyncratic "ritual community music," as he calls it. [Feb 2015, p.75]

A cutting, driving, defiantly hook-happy set (mostly) focused on survival amid America's income-inequality nightmare. [Feb 2015, p.75]

It's a shouty, attitudinal set that connects Ke$ha to Britney Spears and Cyndi Lauper. [Feb 2015, p.75]