Love Triangles Hate Squares is a forceful blast of passion-fired pastiche, but never quite escapes feeling like a cheap holiday in other people's history. [May 2013, p.87]

Fabulous, fun and irresistible. [May 2013, p.87]

A great version of The Fugs' Carpe Diem aside, Everybody Loves Sausages feels like an in-joke that was never funny to begin with. [May 2013, p.87]

It's every bit as sprawling and dramatic as you'd expect from something set to be followed by a four-part comic book expanding on the story within the songs. [May 2013, p.86]

A parade of beige pop numbers that even Taylor Swift would turn down for being too generic. [May 2013, p.86]

It's an undeniably intriguing and often inspired collection, shining with genuine heart and humanity. [May 2013, p.86]

Earle's narrative is compellingly singular, and the musical variety feeding his fiery and thoughtful tunes well measured. [May 2013, p.85]

It's still awesome, of course, just don't expect to enjoy it. [May 2013, p.85]

This is the best Wire album of this century. [May 2013, p.84]

Sometimes, as on Domina, the mood is almost singalong, but much of the album, including the title track is sublime. [May 2013, p.84]

For all the loving homages to past recording techniques, they sound laboured and bored. [May 2013, p.84]

MBV is no great leap forward, though it's still aeons ahead of its 21st century competition. [Apr 2013, p.98]

Their most self-important but least memorable, engaging or relevant album yet. [Apr 2013, p.98]

Suede sound like Suede again. [Apr 2013, p.97]

Voivod have again recorded something that will appeal to those with an open mind. [Apr 2013, p.96]

While wonderfully idiosyncratic, Oddfellows finds them at their most accessible to date. [Apr 2013, p.95]

Mostly it works. [Apr 2013, p.94]

An instant classic. [Apr 2013, p.94]

There's enough here that's new to renew your love of Hendrix. Yes, there's blood in the stone yet. [Apr 2013, p.94]

BRMC have transcended a past that was extremely full of the past and arrived in the present. [Apr 2013, p.93]

Intriguing stuff, but Stereophonics are incapable of shredding the trad rock rule book for an entire album. So the rest of Graffiti is pitched firmly in their beige rock comfort zone. [Apr 2013, p.93]

A vintage Bowie album for vintage Bowie people, of whom there are many; a reflection on his own journey and also on ours. [Apr 2013, p.92]

Not only have the Bad Seeds delivered another healthy baby, but perhaps the most gracefully beautiful of the whole brood. [Mar 2013, p.98]

This is classic, turn-of-the-century-style emo for those old enough to remember the scene before the eyeliner an hairspray brigade came along and spoiled it all for everyone. [Mar 2013, p.98]

Big? Nope. Clever? Definitely. [Mar 2013, p.98]

Lush and romantic, Evidence is the kind of timeless electronic album you can dream inside. [Mar 2013, p.98]

There's a familiarity to much of the material which, while not quite formulaic, does sometimes hint at self-reference, brazenly so on Tears Don't Fall (Part 2). [Mar 2013, p.97]

Concise, clever and at war with everything from alienation to greed and loss, it's a rallying cry in a world that's lost its voice. [Mar 2013, p.97]