Guitarist Marty Stuart re-recorded his parts, and contemporary shading has been added by Buddy Miller and Jerry Douglas. They don't completely erase the synthetic qualities of the sound, but it's clear that Cash was in fine voice even if the material didn't always suit him. [Apr 2014, p.89]

[Seb Rochford] delivers Bear's most varied set to date. [Apr 2014, p.80]

A typically perverse decision to substitute a US remix for the standard version of album closer "Tomorrow" does little to deaden the impact of an album that owned its moment every bit as much as The Queen Is Dead. [Mar 2014, p.94]

Singles Collection Volume 3 betrays its genesis as something of a grab bag. [Apr 2014, p.94]

The larger-than-life Elton of the live stage gets a workout on "Saturday Night's Alright For Fighting" and "Benny And The Jets," pounding rockers on the most impressively diverse collection in his catalogued. [Apr 2014, p.91]

An album that is startling as it is likeable. [Apr 2014, p.74]

Now manifesting more of an intense, slow burn than a fierce blaze, they sound no less anguished. [Apr 2014, p.74]

Bassist William Cashion and keyboardist Gerrit Welmers match him for breathless passion, whipping up a stirring synth-pop writ in bold emotional colours. [Apr 2014, p.74]

Creepy but beautiful. [Apr 2014, p.73]

Unfidelity is too turbulent to be purely scenic in the Boards Of Canada sense, its plaintive melodies hemmed in by the gurgles and clanks of some sinister, unmanned waste disposal plant. [Apr 2014, p.73]

This is another uplifting, honest set. [Apr 2014, p.71]

The band's arch, apocalyptic howl is frequently interrupted by industrial pummelling and passages of heads-down skronk, to the point where you genuinely have no idea what they're going to do or say next. [Apr 2014, p.71]

Teeth Dreams is The Hold Steady's least fussy, least mannered, least arch album. Not coincidentally, it's possibility their best. [Apr 2014, p.63]

An ultra-gentrified karaoke set. [Apr 2014, p.77]

Analogue synths and electronic drums combine with distorted tribal chants to darkly compelling effect. [Apr 2014, P.77]

We Got A Love rarely deviates from DFA's tried-and-tested disco-punk template. [Apr 2014, p.81]

It may be a little too restrained in places, but this is a quietly confident debut. [Apr 2014, p.74]

An exemplary set. [Feb 2014, p.76]

It's like walking through smoke and mirrors towards an utterly empty dancefloor, a kind of nightmare inversion of TNGHT's rave exuberance. [Apr 2014, p.73]

Lost In The Dream is calmer and more confident than previous efforts, songs stretching out beyond the six-minute mark if the feeling is right. [Apr 2014, p.83]

Though beautifully produced, over 40 minutes these spacious, electronic soundscapes sometimes lacks bite, blurring comfortingly but unimaginatively into one another, their euphoric ambitions too often thwarted by their meanderings. [Apr 2014, p.81]

Their methodically slothful hybrid of Angelo Badalamenti, Bill Evans and Sunn O))) is much prettier and more restful than one might imagine, [Apr 2014, p.69]

Whether it's the ramalama of "Dorner Party," sleazy synth jam "Funny" or the brooding "Do The Vibrate," revved up and slightly ramshackle is how BL troll across this superior barroom set. [Apr 2014, p.69]

Parker Millsap's second album is possessed of classic troubadour restlessness, drenched in the Pentecost but headed onto country/folk/blues highways tramped down by everyone from Johnny Cash to John Fullbright. [Mar 2014, p.79]

There are many fine moments here. [Apr 2014, p.76]

They continue the template of their superb I Have Lost All Desire For Feeling cassette last year. [Apr 2014, p.78]

Inspired concept, superlative execution. [Apr 2014, p.76]

The sound they've fashioned is glossy and supersaturated while still exhibiting the subversive impulse that yielded the supremely catchy but subtly sinister smash "Pumped Up Kicks." [Apr 2014, p.74]