After eight years, EWF are right back in the groove. [Oct 2013, p.98]

Vivid flamenco guitar burnishes a confessional Scots brogue. A beauty. [Oct 2013, p.98]

This trance-inducing seven-piece evoke arcane loci, spirits and serpents. [Oct 2013, p.98]

It's chugging, stoner rock riff solace to those bored by the cod therapy of Some Kind Of Monster. [Oct 2013, p.98]

Polished mid-paced throbbers, alive with feedback, thumping drums and troubled lyrics. [Oct 2013, p.98]

Bare acoustic tracks with fuller band on upbeat tunes all sung in pleasing, husky tones. [Oct 2013, p.98]

Album number 11 twitches with the same darkly neurotic pop as 2009's Destroyed. [Oct 2013, p.98]

Much of Days Are Gone packs bubblegum snare, toe-stubbing synth bass, and contemporised '80s pop trappings that evoke everything from Scritti Politti's Cupid & Psyche 85 to Laura Brannigan's Self Control. [Oct 2013, p.95]

Not a bad song on the album. [Oct 2013, p.96]

Troubadour delivers deeply rewarding pop from its stylistic risks eerily familiar at moments, but ever its own marvellous thing. [Oct 2013, p.96]

For the time being Palms are holding fast to a distinctly high-flying trajectory. [Oct 2013, p.90]

The continuing resemblance of their lyrics to motivational speeches may still grate on non-fans. [Oct 2013, p.88]

When ghost-dub closer bathed In Grey plumbs its valedictory depths and suggests a young Matt Johnson, the loose-but-precise whole seems starkly impressive. [Oct 2013, p.87]

Sometimes great, often enchanting, and always disarmingly self-aware portrait of a doomed and wounded hero. [Oct 2013, p.87]

It's in a familiar lineage [of meditative alt-rock]--shoegaze, Sigur Ros--but very much at the quality end of the spectrum. [Oct 2013, p.87]

Land Is Hell is alive with 21st century energy. [Oct 2013, p.96]

A poetic, typically untethered set within bouzouki pecks and mellotron complement Roy's latest voyage into open-tuned land. [Oct 2013, p.90]

Confronted by performances like this, you just have to lay down your critical apparatus and surrender to the spell. [Oct 2013, p.100]

It'll be a bit much for the casual fan with no need for all those stereo/mono variations, but they do have at least a couple dozen other best-ofs to choose from. [Oct 2013, p.102]

This box brims with supportive evidence [that they were "the greatest rock'n'roll band in the world."] [Oct 2013, p.103]

There are many extras here to pique the completist's interest.... But the real punch rests in the unprecedented clarity of the remastered original tracks, and the audacious creativity and humour of the packaging. [Oct 2013, p.104]

There's all kinds of going back on Robbie Fulks' eleventh and maybe finest collection. [Oct 2013, p.95]

So out gores the vintage, spiritual sound of 1995's nourishing debut Soul Food and in comes a job lot of dizzying electronica, schizoid stylistic shifts, screeching strings, sonorous sub-bass and beats verging on hi-NRG. [Oct 2013, p.90]

They're doing nothing radical, but the band, now in their 35th year of playing together, are tight and the results pleasing. [Oct 2013, p.96]

All intriguing and unique, but as the concluding third settles into shapeless moodiness, Hesitation Marks could've done with some pruning. [Oct 2013, p.87]

For all its cryptic lyrics and melodic complexities, the revelation it constantly seems to promise never quite arrives, but repave remains a grand gesture. [Oct 2013, p.95]

A new depth to her prickly but previously sometimes brattish lyrics, a grown-up album by a real grown-up who knows how to sugar-coat a pill for mass consumption. [Oct 2013, p.95]

Many of the songs segue into one another, a percussive keyboard outro blending into a slow keyboard intro, with Moses sounding like the soundtrack to sunrise--gorgeous. [Oct 2013, p.95]