Producer Max Dingel fashions a crystal clear sound, full but never overblown, bringing an attractive universality to some very personal emotions. [Jun 2014, p.79]

Ultimately, the changes are subtle rather than profound and Gray still sounds like he's been nailed to a cross--which will no doubt come as a relief to loyal fans. [Jul 2014, p.74]

Noise, which might frustrate hardcore types because despite the promise of its title--delivered via speed-metal monster "Quicksiler" and 18-minute, FX-strafed-epic, "Angel"--it leans on their melodic shoegazing tendencies. [Jul 2014, p.70]

Deft lyrical touches and a persuasive commitment nonetheless lift Happyness well above pastiche. [Jul 2014, p.74]

It's to The Felice Brothers' credit that Favorite Waitress never quite becomes oppressively earnest, though it's a near thing at a couple points. [Jul 2014, p.75]

Fear is best when Cowgill strips things back. [Jul 2014, p.6]

Musically, this is probably the richest collection of songs Vlautin has written.

The addition of a horn section brings pleasing texture to the likes of "Hotel" and "Revisited," but it's rarely enough to lift The Antlers out of their willfully wounded torpor. [Jul 2014, p.69]

Illuminate is a rich, alluring debut which nods to Orbital or The Chemical Brothers with its hooky melodies, pulsing analogue synths and supple breakbeat rhythms. [Jul 2014, p.69]

A subtly lyrical and perennially thoughtful writer, Minnesotan Gorka is both stellar and predictable on this, his 14th album. [Apr 2014, p.76]

Greys are able to take these influences forward on tracks like "Cold Soak" and "Guy Picciotto," which seethe, howl and rock, combining the energy of hardcore with some of the more abstract sounds found in contemporary noise rock. [Jul 2014, p.74]

The highlight is a creepy, prowling, marimba-driven take on The Knife's "Pass This On," which retains the female gaze of the original. [Jun 2014, p.82]

This time the compositions are still thoughtful and exploratory and, although a tendency to emphatic angst dulls on the over-earnest, producer Mark Hutchinson is fully attuned to Dunlop's musical resourcefulness. [Jun 2014, p.75]

The songs are simple but seductive; the melodies blissed-out, hypnotic. [Jul 2014, p.78]

A bravura production job, assisted by The Haxan Cloak, gives What's Between arcane depths. [Jul 2014, p.83]

This sequel is more focused and song-based. [Jul 2014, p.69]

Thrillingly heavy and direct it may be, but there are great tunes here. [Jul 2014, p.77]

Norrvide still sounds a little glum, but he's got plenty to be happy about here. [Jul 2014, p.76]

The record arguably lacks a killer track, Chrissie seemingly on autopilot throughout, although the sultry "In A Miracle" contains the occasional echo of past glories. [Jul 2014, p.76]

Moody textures outnumber memorable songs, but this is still a stylish and inviting debut. [Jul 2014, p.73]

It's all gracefully wrought. [Jul 2014, p.73]

Michael Franti has fashioned an inclusive pan-global pop, heard here at its most confident and fully formed. [Jul 2014, p.73]

One-paced but classy. [Jul 2014, p.74]

The technology has evolved, but the Plaid Aesthetic remains constant. [Jul 2014, p.78]

Russell was always more super-sessioneer and songwriter than vocalist, and the rasp of advancing years does little for over-familiar pieces like "Fever" and "Georgia On My Mind." Better are more personal favorites like Billy Joel's "New York State Of Mind" and Mose Allison's "Fool's Paradise." [Jul 2014, p.80]

As the album Latin music fans always hoped Santana would make, Corazon doesn't disappoint. [Jul 2014, p.80]

An album bursting with adventure and originality. [Jul 2014, p.83]

It's a record this restless artist can settle into and build on as he continues to mature, because it solves his chronic problems while presenting huim with a newfound sweet spot. [Jul 2014, p.82]