Despite her emotional punk-meets-Brecht contralto, Marianne's vocal limitations are clear on tracks like 'Easy Come, Easy Go' or Sondheim's Somewhere (A Place For Us)' which she struggles through with an overawed Jarvis Cocker. But she shines on songs that seem more personal to her. [Apr 2009, p.99]

Here, the band look to the more languid nod of Spaceman 3 instead. [Jul 2009, p.98]

A pleasingly melodious onrush from which a complete absence of rhythmic funk fails to detract. [May 2009, p.108]

Develop the creepy incantations into songs and they might really grab some shirtfronts. [Jul 2009, p.107]

On 'North London Trash,' 'Burberry Blue Eyes,' 'Hostage Of Love' and the histrionic 'Blood For Wild Blood,' Razorlight have matured beyond bubblegum rock and may yet answer Borrell's prayers for immortality. [Dec 2008, p.100]

Scream has balls, Cornell vacating his comfort zone with admirable readiness. [Apr 2009, p.98]

At her new best, Peyroux sings as elegantly as Peggy Lee and writes lines bearing the downbeat clarity of Leonard Cohen. [Apr 2009, p.98]

It's Buffalo, New York-born David Stith's turn now to fashion a brilliant, hermetically sealed world that makes unabashed emotional connection. [Apr 2009, p.109]

This third disc, to be blunt, pisses over the competition. [Apr 2009, p.106]

When the quality is this high, Perkins can sing the pain away for as long as he needs. [May 2009, p.101]

Benefiting from a stable line-up throughout, Song of the Pearl manages to sound brighter and more dynamic while retaining its predecessor's visionary essence. [Apr 2009, p.107]

Produced by Tortoise's John McEntire on this, their second outing, BO channel such solitary American composers as Harry Partch and Charles Ives, rattling from distorted second line jazz to mournful Moondog horn stomps and sweet chamber melancholy, creating a claustrophobic city suite that taps into a whole other area of American vernacular music. [Dec 2009, p. 96]

Plenty of good listening here. [Jun 2009, p.105]

You try to remember a single melody or hook from the record and you're found wanting. [Apr 2009, p.99]

This lot recall mid-'90s crusty combos like Senser and Back To The Planet, their politics naive and hectoring, their music, frankly, pretty ghastly. [Apr 2009, p.108]

You could muse on the dignity of 40 year olds having a rave revival but when the 303 synth squelch kicks in on soulful closer 'Stand Up,' it's all more pukka than moody. [Mar 2009, p.105]

Middle Cyclone never lets go enough to take flight; nor does it too quickly wear out its welcome. [Apr 2009, p.110]

The result is a collage of several kinds of classic U2 album, one that has the beauty of their panoramic '80s Eno/Lanois recordings plus the synthetic experimentation andd dalliances with pop merriment which revolutionized the band's modus operandi from "Achtung Baby" onwards. [Apr 2009, p.96]

Communion clearly packs a unique set of quirks, diversions and comedowns. [Sep 2009, p.102]

This follow-up is stronger [than his debut]. [Apr 2009, p.109]

While beats like 'Shine All Day's' electronic bounce feel odd at first, they gradually begin to make sense, while KRS-One's 'What If?' and the Supernatural-helmed 'Tribute To The Breakdancer' will keep the most ardent old-schoooler happy. [Apr 2009, p.108]

Most are country ballads--sentimental, heartfelt and tend towards sacred. [Apr 2009, p.109]

This is room-shaking, gut-quaking stuff. [Apr 2009, p.106]

It's a fine entry point into Faust's lineage. [May 2009, p.104]

As with previous album "Songs III," this us an enchanting record. [Apr 2009, p.109]

Hearing Aidan Moffat in such jocose mood on his first song-based record without Malcolm Middleton is quite the revelation. [Apr 2009, p.99]

Jon Boden delivers an audacious yet subtle solo masterpiece. [Apr 2009, p.108]

Never inept, The Nightingales still remain hard work for precious little gain. [Mar 2009, p.114]