Dan Snaith goes liquid disco on his fifth album. [May 2010, p. 96]

King's voice, whether riding roughshod over her band's new found vravura arrangements or playing the smoky chanteuse, is still a decisive instrument of its own. [June 2010, p. 99]

This package is more than worthwhile because it gets closer to the original vinyl. [Jun 2010, p.112]

Emotion & Commotion embraces tunes so big you'd think no more could be wrung into them. [May 2010, p. 93]

Brooklyn duo deliver shock psychedelic masterpiece. [May 2010, p. 96]

It's ecentric, then, but charmingly so. [Apr 2010, p.102]

Marling's second album is one of staggering maturity. An old-school folk album of the best sort. [Apr 2010, p.92]

As each song features a different vocalist and each is a snapshot, it's difficult to tell which character is singing, to get emotionally involved or to keep up with the story without much refernce to the book. [Apr 2010, p.103]

The palette-widening Northern urban soul colours supplied by The Dap Kings' equally convincing playing and arrangements are evry bit as key to their fourth album's sucess....Never unnecessarily flash, Jones is in tremendous voice from start to finish. [Jun 2010, p.102]

Hitchcock's attempt to create a "Basement Tapes" vibe churns up a clutch of affable songs but he looks to have saved his best material for the near contempoary "Ole! Tarantula." [Apr 2010, p.103]

Ex-Wallflower's second solo reveals a chilly, magnetic power growing songer. [June 2010, p. 104]

Martin-McCormick's vocals remain a deal-breaker, his high-pitched yelp threatening to overheat otehrwise superb, noise-slicked bangers. [June 2010, p. 104]

Thankfully Slash doesn't lack guts, tunes, potent solos or giant-slaying riffage. [May 2010, p. 92]

While the rest of Sigur Ros make babies, their singer creates too. [May 2010, p. 96]

Man from another Time is an album that sounds decidely lived-in. [Nov 2009, p.91]

Through the hypnotic, J Dilla produced Love to the ghostly Incense, the short skit You Loving Me to the skittish jazz of Agitation, it's the sound of an artist in full, uncensored flow. [June 2010, p. 93]

Although album five gets back to core values, it retains a subtle sumptuousness. [Apr 2010, p.99]

Arguably they're at their best when wrapped around each other, such as on "Santa Monica Dream" and "Draw Your Swords," where it's a sweet and savoury blend to warm the soul. [Apr 2010, p.94]

Thrilling third from the ex-Headcoatee's duo. [May 2010, p. 93]

The Wiltshire-raised, London-based trio respons with an album that feels utterly vital, but--show no desire to climb out of their own particular furrow. [Apr 2010, p.95]

Remarkably, the bold, full-on cheese works, because this is an album of classic pop. [Apr 2010, p.93]

Any notions that this [name change]--and additions of brass and strings--is a major label ploy to smooth their edges and distance them from the spiky traditional elements that chracterised "The Bairns" is soon decimated by this new album's equally moody, uncompromising nature. [Nov 2009, p.102]

Warm and hazy liek a day spent in teh summer sun, The Illustrated Garden is a sumptuous honey-hued helping of soft-souled pop, unhurried Americana and the occasional spry rush of pop. [June 2010, p. 99]

In The Court Of... sounds both warmly familiar yet dazzlingly fresh.

Deluxe, post-dance soundscapes from Simon Green's anthropoid alias. [May 2010, p. 97]

The confrontational quintet dare to seek out melody and explore a new-found subtlety on an otherwise exhaustingly visceral ride. [May 2010, p. 95]

It all slides down nicely--great bachelorette party music that sounds good on headphones. [Sep 2010, p.104]

Hood's vision for the band has always been cinematic--never more so than here, in fact--but by mid-album tracks such as "Get Downtown" and "After The Scene Dies," things are becoming sketchy.