A liminal, dreamlike music of eye-moistening poignancy. [Aug 2011, p.106]

Fans disappointed at the resolutely unexpanded LPs should be aware; the upgrade makes revisiting them a supreme enjoyment anyway. [Nov 2011, p.110]

Every inch of tape had emotional or melodic purpose. [Nov 2011, p.109]

12 fascinating electro-symphoic constructions informed by dubstep and Delia Darbyshire's BBC Radiophonic Workshop experiments. [Nov 2011, p.103]

An exhilarating brand of digital soul. [Nov 2001, p.103]

It's the slo-electro instrumental Grillwalker that steals the day. [Nov 2011, p.103]

An understated treat. [Nov 2011, p.103]

The cascading ping and pop of 35 Summers and arpeggiated digital melancholy of Unbank is evidence of Plaid's empathy with this most beguiling of music forms. [Nov 2011, p.103]

Together they've grafted that rare commodity: Grown man dance music with dignity intact. [Nov 2011, p.103]

This album is a punchy, lyrical and moving set. [Nov 2011, p. 103]

Make the most of dead Son Rising, as its diversity is its strength. [Nov 2011, p.103]

This 17-track colossus is eclectic, ambitious ad expertly executed. [Nov 2011, p.103]

The album's varying emotions and mutations are part of its unexpected strength. [Nov 2011, p.102]

An album of humming, depthless power. [Nov 2011, p.102]

An exquisitely recorded, enjoyably messy affair. [Nov 2011, p.102]

A slight addition to their catalog. [Nov 2011, p.102]

It gives all sorts of instrumentation the confidence to surprise us. [Nov 2011, p.102]

[An album that] makes you wonder where they will travel next. [Nov 2011, p.101]

A collection that will have both fans and floating voters scratching their heads. [Nov 2011, p.101]

Despite its lulls, Ashes & Fire sounds like a new beginning. [Nov 2011, p.101]

It's a dream, this pop. [Nov 2011, p.100]

This time Baird's own compositions dominate. [Nov 2011, p.100]

It's early Erasure fans who seen likely to enjoy the '80s electro sheen of the all-action rhythmo-melodic hooks and subplots. [Nov 2011, p.100]

[A] curious but very listenable LP. [Nov 2011, p.99]

A release that impresses throughout. [Nov 2011, p.99]

It's not an ideal entry point into Amos;s unique world. [Nov 2011, p.98]

A bold step forward. [Nov 2011, p.98]

Nurses aren't the undead, but Dracula has staying power. [Nov 2011, p.98]

Wolves can still rip jagged and vicious amid the befogged ambiance. [Nov 2011, p.95]

[A] smart and accessible record. [Nov 2011, p.95]

Unabashedly weird, surprising wise, A Turn In The Dream-Songs is Lewis at his most accessible and affecting. [Nov 2011, p.95]

Here, for the first time in years, the primetime Gallagher swagger is back, in a more mature form. [Nov 2011, p.94]

This fluidity of their eighth album becomes a virtue for this project. [Nov 2011, p.93]

Alongside the adolescent energy, they also give vent to decidedly adult passions. [Nov 2011, p.93]

The trade-off for this grandiloquent approach is that some of the songcraft has been swept away in the surge. [Nov 2011, p.93]

Periodically dormant they may be, but it's clearly a tactic that works for Jane's. [Nov 2011, p.93]

It's a record that reveals previously hidden depths. [Nov 2011, p.93]

It's an uneven ride and not without longuers. [Nov 2011, p.93]

This new nightmare falls short of the original, with several songs misfiring. [Nov 2011, p.93]

[Songs swerve] between undistinguished reggae, so-so pop and indistinct blues-rock. [Nov 2011, p.92]

This is charming. And uplifting. Happy-sad but impossibly soothing. [Nov 2011, p.92]

It's a shame that their modishness acts against them, but sometimes, playing all the right notes in the right order just isn't enough. [Nov 2011, p.92]

Bad As me is alive with some of his greatest yet. [Nov 2011, p.90]

Pageant has aged well, with the bonus disc of Athens Demos confirming that much of the album's brilliance is down to band and producer making the most of slum resources.[Aug. 2011, p. 113]

The electronic treatments melt lusciously into the acoustic source material and only occasionally ... does dissonant incongruity intrude. [Aug. 2011, p. 106]

The sound's good and getting better - a wig-out of surf rock, Stooges-style punk and hardcore thrash, with the occasional Bambi noise of 1960's folk peeping round a tree. [Aug. 2011, p. 106]

Suggests a majestic, exquisitely desolate mix of Isis and My Bloody Valentine.[Aug. 2011, p. 106]

Might well be their strongest, most brain-mulching statement to date. [Aug. 2011, p. 106]

Wild abandon never sounded so inviting. [Aug. 2011, p. 104]

A dizzying tapestry of rave, Chicago footwork, jungle, hip-hop and soulful pop. [Aug. 2011, p. 104]

The soundtrack to an imaginary sci-fi flick about a robot astronaut... Smart, rather moving, proggy, psych-electronica. [Aug. 2011, p. 104]

The pervading mood of Dedication is oppressive and borderline paranoid, but it makes for wonderfully innovative, state-of-the-art urban electronica. [Aug. 2011, p. 104]

Blissed-out analogue synths, the swell and drone of ambient rock and epic, beatless, drawn-out melodies characterize the debut. [Aug. 2011, p. 104]

If the original Assault on Precinct 13 soundtrack had been made by a time-shifted Let's Dance Bowie, you'd be most-way there. [Aug. 2011, p. 104]

Drum-heavy powerpop is more comfortable in bleached denim and white trainers, about three decades too late for assured heavy rotation on MTV.

Irksome and intriguing, compelling and calculated, Goblin confounds at every turn. [Aug. 2011, p. 104]

Impressive, entertaining - a new supergroup is born. [Aug. 2011, p. 101]

His most conventional and, frankly, dull [album] pursuing a plodding take on alt rock, in the uninteresting middle ground between early U2 and Stiltskin, with occasional dashes of doom-lite. [Aug. 2011, p. 101]

A collection of songs which rings with the same deeply felt, universal truths of Bon Iver's For Emma, Forever Ago and Ryan Adam's Heartbreaker. Chillingly authentic. [Aug. 2011, p. 100]

It makes for perfect summer listening. [Aug. 2011, p. 101]

A majorly impressive debut. [Aug. 2011, p. 100]

Three of the tracks pass the 13-minute mark, but not a second is wasted. [Aug. 2011, p. 100]

It's out with the neon-fugged, reverb-soaked beats of 2009's Seek Magic and in with straight-up, catchy tunes. [Aug. 2011, p. 100]

100% Publishing is brimming with energy and ideas. [Aug. 2011, p. 100]

Perhaps not as many musical genres are represented as might have been but it's still a good reminder of just how many styles Holly's music crossed and influenced, if not invented. [Aug. 2011, p. 99]

The best tracks on Panic of Girls have some edge and bite... though the all-points-of-the-compass eclecticism makes [it] sound somewhat disjointed and schizophrenic. [Aug. 2011, pg. 99]

To some he may always be Neil's boy, but Liam Finn is very much his own man. [Aug. 2011, p. 98]

It's All True joyfully returns to the shimmering electronica of old. [Aug. 2011, p. 98]

Another damn good album from the Texan, as convincing on songs of country heartache as on roadhouse swagger. [Aug. 2011, p. 97]

At times on this impressive debut Dan Willson's alter ego attains the celestial lustre of that holy grail of lapsed evangelical folk nouveau, the first Palace Brothers album. [March 2010]

A starkly beautiful unerringly poetic outing. [Sep 2011, p.100]

Collective, improvisational, Krautrock gigantism for inner space odysseys.

Sixteen short, sharp blasts of garage pop, Castlemania addles Dwyer's catchy, wryly dippy ditties with mind-melding mellotron blasts and acid-fried clarinet and flute additions. [Aug. 2011, p. 96]

Peyroux's best work may happen beyond the perimeter of her comfort zone. [Aug. 2011, p. 96]

Scratch beneath the glossy surface of Torches and beneath the gurgles, stutters and hands-aloft choruses lies an album with a disappointing lack of substance. [Aug. 2011, p. 94]

Sparely and intuitively performed, it's simply excellent. [Aug. 2011, p. 94]

In louder and busier sections it's easy to lose the text and there's no melody as consolation. [Aug. 2011, p. 94]

In the category of great rap reinventions, file it next to Daniel Dumile's post-KMD rebirth as MF Doom and Ultramagnetic's MC Kool Keith re-training as Dr. Octagon. [Aug. 2011, p. 94]

Ritual Union feels like the point at which Little Dragon's lyrical stride finally gets in step with their musical ambition. [Aug. 2011, p. 93]

Johannsson's austere musical settings continue to conjure up a world in which the old trade union slogans which give these pieces their titles .. are not so much throwbacks to a lost ideal of altruism, as mantras that we all might still live by. [Aug. 2011, p. 93]

Holland's singing identity still shifts disconcertingly. [Aug. 2011, p. 92]

This stylish set quantum leaps from the title track's ethereal doom disco to the acid-damaged dreampop of Tokyo Wonderland via robo-glam rave-up Party Boy, and deserves to find these most playful of veterans a wider audience. [Aug. 2011, p. 92]

Affirms that Boris can bench-press myriad weighty sub-genres in their sleep. [Aug. 2011, p. 92]

The Horrors manage to balance vinyl excavation with experimentation and a huge dollop of pop magnificently. [Aug. 2011, p. 90]

This is Coldplay getting in, delivering the tune, getting out, influenced by the discipline of cutting-edge R&B but still capable of testing arena acoustics with some supermassive bluster, glitterball lustre and classic Buckland glide'n'twiddle. [Dec 2011, p.46]

This newly winged Barn Owl glide on through celestial panoramas, a tempestuous sonic asteroid belt and heady, intergalactic drift. [Oct 2011]

To some, Hurts lugubrious, gruff delivery might jar with the LP, but it's entirely intentional--they cast the beauty and simplicity of the melodies into even sharper relief. [Oct 2011, p.96]

Amy Winehouse it ain't, but we can take a certain pleasure in a man who at least possesses the sort of grainy Sam Cooke mellifluousness that, down the ages, has redeemed blue-eyed-soul boys the world over. [Oct 2011, p.94]

Simpson's Indian summer roars on in an irrepressible blend of the English tradition and an unerring instinct for American material. [Oct 2011, p.106]

Inside The Ships is one of their most entertaining yet confounding albums. [Oct 2011, p.101]

Even when she blinds her audience wit science, though, Bjork's vision remains remarkable. [Oct 2011, p.97]

Like Eddi Reader's Sings the Songs Of Robert Burns, this is bard bigging-up of note. [Oct 2011, p.97]

It's an immersive, and inevitably cinematic, ambient gem. [Oct 2011, p.105]

Black Rainbows is a pretty good dress rehearsal. [Oct 2011, p.97]

The 14 tracks here represent just a fraction of what he produced in his prime, so beware that it may be habit forming. [Oct 2011, p.110]

Here, the tunes are dubbed to within an inch of their lives, reduced to fiddly-for-fiddling's-sake electronic bleeps and riffs. [Oct 2011, p.100]

The wait has been worth it. [Oct 2011, p.98]

Metals is the product of a stock-taking pause, it's clear the former Canadian indie scenester had rediscovered her bearings. [Oct 2011, p.106]