It's a wholehearted, utopian and irrefutably exciting record. [Nov 2007, p.94]

After a corkingly good start with 'Don't You Wish It was True?,' the album dips into Creedence by the numbers for several cuts with only the gospelly 'River IS Waiting sounding fresh. [Nov 2007, p.92]

Their studio albums have been moving away from virtuoso instrumentals toward vocal songs, of which this album has some excellent examples. [Dec 2007, p.104]

The Dap-Kings lent their powerful Muscle Shoals-esque funk licks to Amy Winehouse, Lily Allen and even Robbie Williams. But they work best together in their Brooklyn studio, as 100 days proves. [Nov 2007, p.100]

An album that values discreet whimsy over Wicker Man portent, it succeeds on its own puckish terms. [Sep 2007, p.109]

It's a brave and brilliant refocusing of her energies, virtually a rebirth. [Oct 2007, p.91]

It's charming, understated and has to be heard in context. [Oct 2007, p.100]

'I Remember' and 'My Dearest Friend' are intimate, sad and soft.... More songs like these, and he would have a classic album on his hands. [Oct 2007, p.98]

Aside from the occasional mistep this is a finely balanced collection. [Nov 2007, p.92]

In Our Bedroom After The War aims for a more dramatic sweep than its predecessor but falls a couple tunes short. [Nov 2007, p.108]

He's a master of umbral moods, and in this respect at least, In Our Nature is a worthy successor to the phenomenal "Veneer." [Oct 2007, p102]

Striken, sorrowful balladry is the meat of this fine album. [Feb 2008, p.102]

For every glimpse of a hook or a memorable melody, there's a stretch of unfocused, sample-strewn electronica, all skittering art-techno beats and wilfully obtuse instrumentation. [Nov 2007, p.95]

Two Gallants make good on their promise with this third LP. [Oct 2007, p.94]

Joni Mitchell delivers a counter-intuitive, brilliant artistic response. [Oct 2007, p.90]

A strong contender for soul album of the year. [Oct 2007, p.98]

'Dancing On Our Graves' pumps out a footstomping rhythm but there's no happiness here, just bleakness, and all the more convincing for it. [Mar 2008, p.112]

Harte's mixture of charisma, vulnerability and errant tunefulness holds everything together. [Nov 2007, p.95]

It is her most intense, but perhaps also her most pleasurable excursion yet. [Jan 2008, p.104]

The World is Yours falls too short. [October 2007, p.102]

Once Upon A Time In The West treads a similar path [as "Stars Of CCTV"], though this time Richard Archer and co have packed in more guitar wallop and catch-all harmonies. [Oct 2007, p.90]

It's a shame Drastic Fantastic disappoints. [Oct 2007, p.92]

Much of All The Lost Souls is far more icky-yucky than its predecessor. [Oct 2007, p.90]

The material is of consistently luminous order. [Oct 2007, p.90]

The best of these songs are easily a match for Broken Social Scene. [Nov 2007, p.106]

It may be that RW are out to capitalise on previous use of their music in shows such as "The O.C." and "Weeds," but Rogue's voice--as angelic and tender as those of Buckleys Tim and Jeff--is a joy throughout. [June 2008, p.103]

Lyrically, he may occassionally jar but it's hard not to be uplifted when he lets rip on the opener 'Setting Forth' or when he and Sleather-Kinney's Corin Tucker chime on 'Hard Sun.' [Dec 2007, p.100]

They offer up a wonderful lysergic carousel of communal singalongs, spiked pop and tribal hoedowns. [Nov 2007, p.95]