Here he marmelises the American songbook, 99c cut-out standards mutilated and reanimated by Delta blues magick. [Nov 2013, p.89]

A country album of slide guitar, sweet harmonies and heartworn ballads from a landscape on the edge of the unsayable, the kind of high lonesome petitions to the gods Syd Barrett might have made in his flat on the night pink Floyd never turned up.

This is the desert-blues album for fans of Can and Pink Floyd to sink their teeth into. [Nov 2013, p.91]

These are ingenious, affecting songs on a DIY recording budget. [Nov 2013, p.88]

Indubitably, worth the oxide it's been taped on. [Nov 2013, p.86]

Unreservedly recommended, but for the uninitiated and obsessives only. [Nov 2013, p.86]

If you can bear the canonical duplicates, the seldom played discs, and, above all, the cost, this is a box no John Martyn fan can do without. [Nov 2013, p.96]

sometimes the going gets a mite too easy, too laid back. But there are several memorable teamings. [Nov 2013, p.91]

There are perhaps too many guests, but this unassuming talisman clearly prefers sharing his space. [Nov 2013, p.84]

What, on the face of it, is an understated and straightforward folk fringe album, is actually, thanks to the guile of Flynn and long-time collaborator Adam Beach, an extremely clever and nuanced record. [Nov 2013, p.84]

At it's best Interiors is alien and magical.... thought, it can also slip into a rather inaccessible coolness too. [Nov 2013, p.107]

A masterful song cycle of raw confessionals, ghostly R&B and gritty stompers, all channelled via intense vocals that razor and soothe. [Nov 2013, p.94]

Like most of ET's work, it's worth the wait. [Nov 2013, p.90]

Double Exposure feels like his best yet. [Nov 2013, p.85]

A bold and encouraging modern pop debut. [Nov 2013, p.90]

You'll need to attune yourself to the unique musical argot that Lopatin has created on R Plus Seven, but once achieved an album of intrigue and beauty is revealed. [Nov 2013, p.89]

A deceptively simple soundworld of banal electronic tropes that gradually pulls you into blissful wormhole depths. [Nov 2013, p.94]

The trademark use of acoustic as a lead guitar still sounds refreshing, and Knights' sweet and salty vocal style is still full of vulnerable charisma. [Nov 2013, p.88]

If it is meant to be a Pink Floyd homage, then it's an entertaining and highly distinctive one. [Nov 2013, p.84]

Minor caveats notwithstanding, at its best One Breath is, indeed, breathtaking, and an undeniable upgrade on its much-vaunted predecessor. [Nov 2013, p.87]

It's the very essence of being "unplugged" as Chilton--laughing, joking, fluffing lines, forgetting verses and whistling choruses--breaks down all barriers between musician and fan. [Nov 2013, p.102]

An engaging, rewarding whole [that] speaks volumes about the breadth of both of his imagination and compositional agility. [Nov 2013, p.86]

In total, the rejuvenated, rockier Numan's finest hour. [Nov 2013, p.86]

With echoes of caribou, Chemical Brothers and Underworld also fluttering in the mix, Avery's is a compelling, club-friendly debut with crossover appeal to the headphone set. [Nov 2013, p.89]

Moderate in everything but length, Big Wheel And Others seems to go on forever. Again not in a good way. [Nov 2013, p.84]

Despite the lulls, the resistance to ending songs, Reflektor lets Arcade Fire shed expectations along with a skin, an act of rejuvenation few at their level manage with conviction. [Nov 2013, p.82]

The softer tracks find the group negotiating their path to maturity with confidence.

At 70, he's still as intense and dangerous as all hell. [Oct 2013, p.95]