It is impressive on a technical level. [Jan 2015, p.76]

A first half of pop-punk nuggets.... The second half, though, is more reflective and psychedelic although still in thrall to Big Star and Teenage Fanclub. [Jan 2015, p.75]

It's less derivative than some current house revivalists, and perfect wallpaper for independent coffee shops, but you can't really get down to such studiousness. [Jan 2015, p.74]

Whether flirting with doo wop, mixing psych and a cappella gospel or channeling John Cage via TV On The Radio it charms at every turn. [Jan 2015, p.74]

Sea Island feels comfortable, perhaps a little overly so, though there are plenty of lovely moments. [Jan 2015, p.74]

Tame Impala/Pond and Unknown Mortal Orchestra are kindred spirits, but it's KG's hyperactive tendencies that distinguish them. [Jan 2015, p.74]

Much here feels underdeveloped. [Jan 2015, p.71]

Depending on your mood or generosity, these are either indulgently doleful or movingly ascetic in their dutiful repetitions--worth investigating either way. [Jan 2015, p.71]

An elegant, sculpted electronica that's cerebral of construction but robust enough to beat a dance floor into life. [Jan 2015, p.69]

Monuments To An Elegy constitutes an unexpected return to form. [Jan 2015, p.66]

Parallel Memories is, in places, almost too minimal.... But Mitchell's softness of touch leads to some moving moments. [Jan 2015, p.75]

Even at 25 years remove, Doolittle's lively morsels still taste startling fresh. [Jan 2015, p.89]

Not so much a last will and testament. More a case of business as usual, for as long as he still can.

There's a certain wonky charm to the title track, but elsewhere Creation is too clean and clearly aimed at a Radio 2 demographic to be much more than background noise. [Jul 2014, p.78]

An album of unexpected depth and originality. [Oct 2014, p.68]

This album is heavy because it's dense with detail. [Jan 2015, p.63]

In terms of unreleased material, the motherlode is the two-disc Live at The Matrix set, recorded on November 26 and 27, 1968 at the San Francisco venue. Of the 18 songs here, 10 are previously unreleased.... All are comprehensively bested by the 36-minute version of "Sister Ray." [Jan 2015, p.81]

Band Leader David Moore's piano lines are more definable, tinkling through the serene textures in a way that recalls Hans-Joachim Roedelius. [Nov 2014, p.71]

This electronica-centred return focuses on the power of love. [Oct 2014, p.74]

Palme finds Arnalds staking a strong claim to territory as uniquely precious as Dory Previn's. [Oct 2014, p.67]

While at times her guitar rages filthily. She branched out lyrically too. [Oct 2014, p.79]

As bootlegs from the period have shown, there's a good three hours of stuff out there from these and the so-called "Brown Star Sessions" for Clear Spot. On the fourth disc here, you can find the pick of it. [Dec 2014, p.85]

This set is a good primer for Cooder’s soundtrack work.

A bold take on martial oldie "We Want War" brings a fire and brimstone that the more sombre Field Of reeds material conspicuously lacks. [Dec 2014, p.81]

For Godard, it bridged punk and his Tony Bennett phase, with the band sporting knock-off Fred Perrys at the height of goth gloom-mongering. [Nov 2014, p.75]

The intent is admirable even if too many of the songs feel flimsy and pedestrian. [Dec 2014, p.81]

While the calibre of artists lining up to pay tribute to Macca on this two-disc set is undeniably impressive, there's little in the way of surprises when it comes to execution. [Dec 2014, p.83]

First Demo captures the band's first flush of creativity. [Dec 2014, p.91]