Its music delivered with an understated, glacial splendour. [Jan 2014, p.97]

Tomita-worthy retro electronica that justifies another stab at White Christmas, and rehabilitates lesser-known carols such as Midnight Clear and Sleep Quietly. [Jan 2014, p.97]

While reining in the triumphalism, Demonstration suffers from an overbearing sense of its own importance. [Jan 2014, p.97]

Cupid Deluxe is wildly eclectic and nostalgic. [Jan 2014, p.97]

By turns squally and bleepy, poppy and droney, the music here is too unfocused to really hit home. Again, just like old times. [Jan 2014, p.97]

The snotty attitude of MIA's incendiary globalist skipping rhymes has never been better balanced with first-rate pop hooks. [Jan 2014, p.96]

The stage is small, the set short, but as ever, The Bad Seeds contain multitudes. [Jan 2014, p.96]

Filled with tearful ballads and ragged-trousered country, the Avetts' playing may not be the most technically accomplished but the feel they bring to Never Been Alive and Another Is Waiting is alone worth wading through their previously misfiring albums. [Jan 2014, p.96]

In classic Brit-rock style it is this intrepid combo's assembly of these disparate echoes into something of their own that takes them ever closer to the pantheon of greats. Join the Dots is another exhilarating leap in that direction. [Jan 2014, p95]

The album roams Laurel Canyon roots and Byrdsian bliss to Fleetwood Mac and Mink DeVille/Lou Reed affection. [Jan 2014, p.94]

The music is almost secondary, his production' often leaden beats a mere sideshow to mind-bending internal rhyme pyrotechnics that jab hard at the surreal dial. [Jan 2014, p.92]

It's a meandering but heartfelt collection. [Jan 2014, p.97]

[Painting] loses momentum. [Mar 2013, p.98]

A compelling, if sometimes unsettling, time capsule. [Apr 2013, p.106]

This, their literally titled second, is equally arresting [as their debut]. [Apr 2013, p.94]

The hydra-like mix of music genres which FaltyDL has previously taken direction from has been refined into deep burnt, highly charged, twisted electronic soul. [Feb 2013, p.91]

Of seven swing covers and duets, only the high camp title track with Rufus Wainwright sparkles. [Dec 2013, p.92]

A triptych of glitchy, dissonant beats, shards of white light and fractured, ambient interference. [Aug 2013, p.91]

Guitar thrashes, mystic excursions, slabs of heavy blues and silvers of electronica. [Sep 2013, p.90]

Drummer Ulysses Owens Jr displays the kind of tidy time and delirious brushwork you might have thought went out with Ed Thigpen, while McBride drives the whole with a mighty, old-school righteousness. [Dec 2013, p.87]

His offbeat personality and refusal to pound the toad most traveled mark out this wildly talented bearded savant as a potential game-changer. [Dec 2013, p.89]

His most impressive album yet. [Dec 2013, p.86]

Literate, thoughtful and rhythmic, and with Sullivan unveiling a rich baritone croon, Between Dog And Wolf marks something of a late-in-the-day career high. [Sep 2013, p.88]

It's an uneven but at times wonderfully eccentric mix of early-'80s synth-pop mores and a kind of post-industrial electro that wants to sound like Depeche Mode but then wants to get all nasty on you. [Dec 2013, p.98]

Within its luxuriance of old, within its dreamscapes Fitzgerald's often Kitchens-sink observations and harsh, bloke-from-Editors singing voice remain naggingly terrestrial, dragging the listener down to earth, when everything else is straining heavenwards. [Dec 2013, p.90]

The songs inside are equally well groomed, yet it is a shame that the singer--not generally a man to take the easiest path--hasn't frayed their edges a little more. [Dec 2013, p.85]

Their obsession remains with sounds rather than songs, with every digitised boom, click, and ping picked out in arresting detail. [Dec 2013, p.103]

At 16 tracks Bowler Hat Soup is possibly a little overlong but what is youth for if not indulging a wealth of ideas? [Dec 2013, p.87]