Kohncke hasn't yet managed to pull off a completely successful, consistently great album. Wonderful Frequency Band is the closest he's come, terrible punning aside, largely due to its focus on the dancefloor. [Feb 2014, p.77]

Tales of protest, battle, compassion, camaraderie, segregation and loss are recalled in rich tones. [Feb 2014, p.83]

Sweet at its core, but pleasantly dark around the edges. [Feb 2014, p.76]

As with their prime influence PJ Harvey, they explore much beyond. [Feb 2014, p.80]

It's all delivered with gusto and buckets of charm. [Jan 2014, p.76]

It sounds timeless, and oddly familiar. But subsequent listens add intrigue. [Feb 2014, p.70]

A magisterial set. [Feb 2014, p.75]

The rhythmic, melodic and thoughtful After The Disco stands as impressive proof of the strength of their partnership. [Feb 2014, p.74]

A sharp, stirring contrast to the delicate lustre of its 2012 predecessor, Back Into The Woods. [Feb 2014, p.76]

Frivolous but elegant. [Feb 2014, p.75]

Delicately arranged, and sympathetically drenched in reverb by producer Jason Quever, its six tracks find him in typically hushed mood. [Feb 2014, p.83]

It's an extraordinary set. [Feb 2014, p.92]

With hindsight, the Rough Trade album with its seamless mix of folk, blues country, cajun and rock can be seen as the album that launched the phenomenon we would come to know as alt.country. [Feb 2014, p.97]

In short--a monumental album.

The LP's seven originals are solid, but the five country covers hit with sweaty immediacy. [Feb 2014, p.95]

So far, so far out. [Feb 2014, p.89]

As a representative trawl through Lanegan's solo albums, Has God Seen My Shadow? gets it very right indeed. [Feb 2014, p.94]

The heavy-lidded atmosphere grows stifling on Warpaint, a codeine fog muddled by synthy tricks from the arsenal of producers Flood & Alan Moulder. [Feb 2014, p.83]

Wig Out At Jagbags presents Malkmus at his most eager to please. That it does so while still honoring his idiosyncrasies makes it a particular delight to behold. [Feb 2014, p.82]

There us ab agreeably lo-fi C86 sloppiness to much f this debut, even if it sounds more cheap than raw in places. [Feb 2014, p.81]

They might've allowed the collage more space to breathe, for the bandwidth is densely layered to bursting with blissed-out sampling; but the rapture makes it churlish to complain. [Feb 2014, p.80]

The result is a meditative, wide-open form of celestial American folk music. [Feb 2014, p.78]

A powerful and accomplished album. [Feb 2014, p.78]

Gone are the stark acoustics of his noughties output, replaced instead by a layered warmth and gorgeous, semi-orchestral settings that make him sound like a spiritual descendant of early '70s Laurel Canyon. [Feb 2014, p.77]

Oddly, this works a treat. [Feb 2014, p.77]

The meanings might be obscure, but Chiaroscuro is still deluxe cinematic pop by hugely accomplished composer-producers. [Feb 2014, p.76]

A Major new British talent is born in William Doyle's solo debut, which sounds like the great lost album that Brian Wilson, Eno and Bjork should have made together. [Feb 2014, p.75]

Climax is both poundingly heavy and pleasingly melodic, at times recalling the Sisters Of mercy in their crossover pomp. [Feb 2014, p.71]