Feck's gracious lyrical observations of the minutiae only sharpened by such a lovely contrast [to The Clientele's James Hornsey]. [Aug 2014, p.71]

A much warmer, more luxurious record than the brittle debut, the shrillness wiped from Jackson's voice in favour of uncontrived and appealing attitude. [Aug 2014, p.74]

High Life has none of its predecessor's busy, over-caffeinated temperament. [Aug 2014, p.73]

The album has its fair share of filler.... But, at its best, World Peace feels like a perfect penultimate episode in the last season of a beloved TV series. [Aug 2014, p.66]

The 73-year-old [is] in fine voice. [Aug 2014, p.71]

This is one old timer who's still in his prime. [Aug 2014, p.72]

Behind the abundance of route one hooks and rather beige, Gary Barlow-esque vocals, however, there's evidence of emotional heft in the lyrics. [Aug 2014, p.70]

They've got a food ear for summer anthems but Jungle lacks the knowing self-deprecation and tender lyricism of Hot Chip or Metronomy, so all you're left with here is a pleasant pastiche. [Aug 2014, p.75]

By and large, it's contemplation they're seeking. [Aug 2014, p.81]

There's antique gusto, politics, wintry picking from a master, some gothic touches from Britfolk's finest fiddler, and grand notes. [Jul 2014, p.71]

The results are spectacular. [Jul 2014, p.66]

A cherry if tad predictable offering. [Jul 2014, p.71]

A cult classic in waiting. [Jul 2014, p.69]

This isn't mainstream music in any sense of the world, but it's one of the first glass-rattling industrial-noise records you could imagine getting stuck in your head. [Aug 2014, p.81]

While somewhat novelty, it's hard not to appreciate Daniel's conceptual moxie. [Aug 2014, p.79]

For purists, "Lonely Island" and "River Jordan" are closer to a bygone Nashville sound. [Aug 2014, p.78]

This is as good as the "soundtrack for an imaginary movie" gets. [Aug 2014, p.78]

The Orwells ape highlights of the last 25 years of indie rock on their second album. [Aug 2014, p.78]

Meshell's search for love and meaning rarely asserts itself over the sense of muso friends at play. [Aug 2014, p.76]

Despite nods to jazzy glitch and ambient glide, most of these beautifully crafted tracks are united by supple but solid 4/4 rhythms. [Aug 2014, p.75]

Some of the tracks can sound exhaustingly out-of-phase, but such sonic wonkiness works brilliantly on the hypnotic thumb-piano minimalism of "Down And Out," the Afro-funk of "In Praise Of Homeboys" and the Congolese heavy metal of "The Ploughman." [Aug 2014, p.75]

Amid the cheap preset funk and curdled interludes, Bouaziz enchants with moving pieces such as "Heartbeats" and "Hero." [Aug 2014, p.74]

While You Were Sleeping is a curious amalgam of '70s soul, '90s R&B and the epic manoeuvrings of stadium rock. [Aug 2014, p.74]

Brothers shines brightest when Nelson spins out pithy philosophising, or hits a certain inimitable, rambling, jazzy sweet spot with his longtime band. [Aug 2014, p.70]

The musicianship is exemplary throughout, with a stronger focus on roots traditionalism on "The Traveller" and "Ships At Sea." [Aug 2014, p.71]

Gamel is an ecstatic return. [Aug 2014, p.76]

A racket, but a charismatic one. [Jun 2014, p.72]

This is deluxe, bespoke, artisan electronica, only slightly marred by its high seriousness and lack of mischief. [Jul 2014, p.67]