It's nigh impossible not to succumb to their hurtling energy and panache. [Oct 2013, p.94]

The 23-year-old Ethiopian-Canadian's sonic evolution continues on Kiss Land. [Oct 2013, p.88]

This trio's brand of piano-fed luminescence is more traditionally coffee-table. That's no criticism, more acknowledgement of their smooth melodic nous. [Oct 2013, p.87]

There's an often harrowing conviction to Rewind The Film's primarily acoustic arrangements and elegant melodies, heralding a new level of artistry for this unique band. [Oct 2013, p.87]

Just in time for autumn, more summery surf rock by Hawaii's second favorite son. [Oct 2013, p.98]

If the album's (mostly) feral guitars and off-mike whoops conjure a band keen to re-harness the pluck of 2003's Youth & young Manhood, in places, the enormodome-courting trappings of recent years linger on. [Oct 2013, p.94]

At its best, Factory Floor powerfully blurs the lines between human and machine and back again, and is very hard to argue with. [Oct 2013, p.91]

While there's nothing here to touch 1999's moving, Cinemascopic downtempo classic Les Nuits, it's an eclectic offering, deliberately in keeping with the Balearic paradigm Evelyn once helped shape. [Oct 2013, p.91]

It eschews the compartmentalised, glossy, compressed production sound du jour for a red-blooded, powerful live feel full of adrenalin and excitement. [Oct 2013, p.90]

Andrew VanWyngarden and Ben Goldwasser's third album again fails to provide a soft pop landing. [Oct 2013, p.96]

Pared-down twinkly electronic pop with arcane instruments alloyed to laptop smarts that chills as it enchants. [Oct 2013, p.98]

For the most part this pensive, intriguingly restrained album marks a welcome, if overdue, return. [Oct 2013, p.91]

As ever, Lanegan's voice is solemn and affecting, emphasising the melancholic sentiments of the material. [Oct 2013, p.91]

Thanks to The Roots, Costello has new access--and Wise Up Ghost should bring new listeners to mess with. [Oct 2013, p.94]

Dream River may be Callahan's most beguiling album yet. [Oct 2013, p.89]

There is much melancholy here, but he sounds comfortable singing songs that carry the weight of experience. [Oct 2013, p.87]

This is exciting, audacious work from a band yet again on the edge of a new future. [Oct 2013, p.84]

The recovering dope fiend's songs cut even closer to the heart. [Aug 2013, p.104]

Against the odds Placebo are growing old gracefully. [Sep 2013, p.89]

The mood is all of a piece, the songs are stronger, and nobody suggests lightening the atmosphere with a high-energy single. [Sep 2013, p.84]

Blanket Of Leaves oozes rueful, autumnal soulfulness; you can almost feel the sea fret during the minimally arranged Ships In The Rain; only A Kingdom, with busy snare drums, hoedown fiddles and raindrop guitars, approaches anything like vigour, offering a welcome change to the mood of wistful languor. [Oct 2011, p.105]

Apart from misplacing the detonator for Iggy's Search & Destroy and a version of Neil Young's Rockin' In The Free World that lacks the original's purple-faced fury, Can't Get Enough is the sound of men enjoying the music. [Sep 2013, p.86]

Think Metronomy, Junior Boys and a (much) chirpier John Grant. [Sep 2013, p.95]

Given such a line-up and a high degree of cohesion not always apparent in similarly stellar offerings, good things should happen. And they do. [Sep 2013, p.90]

Razor-sharp production, lazy lolloping dance grooves and a polished, poppy glow lends the debut from Essex producer Tythe more than a hint of anything goes, '80s Balearic sheen. [Sep 2013, p.95]

An unpretentious euphoric debut. [Sep 2013, p.95]

Lightbody's perennnially love-lorn, tear-in-eye songwriting benefits from a more exotic sonic wardrobe than Snow Patrol would feel comfortable in. [Sep 2013, p.94]

With contributions from one third of Grizzly Bear, lilting vocals and arpeggiated guitar chords are gracefully manifest. [Sep 2013, p.96]