Sometimes, More is more. [Nov 2014, p.73]

Sparhawk builds on the melodic sensitivity that frontman Dave Simonett revealed on his Razor Pony EP. [Sep 2014, p.79]

The 2 Bears' faith in the unifying qualities of a good rave-up has a tendency to spill over into hokey sentiment at times, but such criticism feels like pure humbug in the face of the album's unexpectedly trippy and heartwarming final third. [Oct 2014, p.65]

Trick is the Bloc Party singer's comedown record: confessional, emotional and, in places, a bit much. [Nov 2014, p.76]

Some odd production choices slightly blunt the impact of straighter rockers like "Piss Pisstoferson," but "Onions Make The Milk Taste Bad" confirms their skill for combining the heavy, the catchy and deliriously strange. [Nov 2014, p.77]

[An] excellent debut album. [Nov 2014, p.73]

Allo Darling' have become more accomplished since their 2010 debut without losing the intimate charm that make their brand of "real indie" an enduring choice for outsider pop fans. [Nov 2014, p.69]

As befits a compilation of songs that weren't up to scratch the first time around, 24 Karat Gold contains a few tinpot tracks that even the Nashville boys couldn't fix. Most, too, spill over the five-minute mark. But as fresh testament from one rock's great survivors, it makes for a fascinating listen. [Nov 2014, p.82]

Something on High obsesses on matters of faith, most compellingly on "Bodies," a dystopian reimagining of the Ark story. [Nov 2014, p.83]

Dissonance and propulsion remain watchwords. [Nov 2014, p.78]

It's a scuzzy Swans-like behemoth. [Oct 2014, p.77]

More suited to contemplation and drift than dance, perhaps, and with Gavin Bryars-like strings and low-level electronics making the 11 pieces more voluptuous than ever. [Oct 2014, p.67]

Playland is pretty much "The Messenger Part 2." [Nov 2014, p.77]

It strips out their usual psychedelic sprawl, leaving something leaner and more insistent, if no less Technicolor and joyously hypnotic. [Nov 2014, p.80]

If Heartleap does indeed prove to be the final destination of Bunyan's old horse and cart, it's entirely worthy one. [Nov 2014, p.79]

He sings plenty, with engaging huskiness, while leading his band down ever more inventive tangents. [Nov 2014, p.76]

A colorful fusion, blunted underground hip-hop flowing into delirious live bass jams and cosmic balladry. [Nov 2014, p.75]

Best yet and then some from an artist whose vision continues to expand with every release. [Oct 2014, p.68]

At times the elemental pounding can become an aural bludgeoning. [Oct 2014, p.80]

A considerably more fully formed affair, rich in texture and atmosphere, though reprising Familial's aura of downbeat anxiety. [Nov 2014, p.83]

ZW have sensibly resisted the urge to shape their sound for arenas, the gaseous disco of "Coming Up For Air" and the darkly glittering instrumental "Elusive" underlining the poignancy that was always their trump card. [Nov 2014, p.84]

Perhaps they lack the arty flourishes of elder statesman Damon Albarn's solo work, but these bold, brassy tunes serve to remind that it wasn't only about Union Jacks and DMs back then. [Oct 2014, p.69]

There's plenty to admire--not least "Without You" and "Innocence"--but you sense their moment may have passed. [Oct 2014, p.71]

No longer quite so greasy, but rewardingly slick. [Oct 2014, p.80]

Technology's presence just goes to show how untamable Amidon's unself-conscious, creaky-rope voice is. [Nov 2014, p.71]

There are no songs here to touch past glories, [3rdeyegirl's] excitement in the studio is captured.... They just remind you he's still around; short of a tune, but the unique inhabitant of a purple planet all his own. [Nov 2014, p.80]

Too many average slow jams.... They just remind you he's still around; short of a tune, but the unique inhabitant of a purple planet all his own. [Nov 2014, p.80]

There's a haunted, frequently unhinged quality to its songs and performances. [Nov 2014, p.83]