Laurent-Marke's facility for pleasant minor-key ruminations remain her strong suit, but the "stillness" of which she speaks all too often sounds like a stifling lack of urgency. [May 2013, p.85]

It cannot have been a paucity of good songs, strong playing or contemporary production values that was the problem, the 13 hitherto unheard tracks on Wings of Love stunningly illustrate. [May 2013, p.102]

Somewhere between the Moonlight Sonata-inspired title track and the desolate L'Enfer Et Le Paradis, Hardy will make you forget Tous Les Garcons Et Les Filles was ever considered her finest song. [May 2013, p.84]

Junip's second album is enchanting enough to sell cluster bombs. [May 2013, p.88]

[A] moving tribute, gently awash with autumnal colour. [May 2013, p.96]

This is a rarity--an album designed to be listened to as a piece. [May 2013, p.84]

Nelson has impeccable taste in cover versions. [May 2013, p.87]

This fourth record in six years is another gem, a touch rockier than 2011's saccharine Lollipop, but no less sublime. [May 2013, p.95]

Partly dependent on the oft-derided production tics of '80s pop and soul, and partly a lagging stab at a (fairly) contemporary dance album, it may even disquiet the Toddheads. [May 2013, p.84]

Earle's most satisfying album in a while--and one that should please right across his fanbase. [May 2013, p.89]

V comes as a spellbinding corrective. [May 2013, p.95]

While impressive in their cinematic scope they can feel a touch superfluous. .[May 2013, p.96]

Rowe's gravelly baritone is as suited to the shimmering surf plucks of Downwind, or the percussive pummel of Horses as it is to his sombre ballads. [May 2013, p.96]

[A] ragged rock 'n' roll debut with vigorous grit, while Robbie Crowell's drawled, anecdotal lyrics add dive-bar sleaze. [May 2013, p.96]

Tracks like Half Angel Half Light suggest the passion remains fully intact. [May 2013, p.96]

More akin to their second LP. [May 2013, p.96]

Occasionally remarkable, American Twilight is a timely reminder of the instinctive songwriting that a certain other, more feted southern gothic Melbournian has sometimes mislaid. [May 2013, p.95]

It's a bloodless, disembodied album, rarely flushed with human warmth. [May 2013, p.94]

Any of these versions would brighten Radio 2's day, but eventually the massed violins and mid-paced tempos begin to pall. [May 2013, p.88]

Gardner's sincerity, dexterity and lightness of touch raises this above a simple genre exercise. [May 2013, p.87]

Pierce's lyrics remain largely opaque, and the atypically lumpen Warm Hand In Narnia sounds unsettlingly like Snow Patrol, but to cavil feels churlish when elsewhere such vivacious invention pervades. [May 2013, p.86]

Impossible Truth is an unusually articulate trip. [May 2013, p.85]

Seb Rochford's drumming gives songs such as Kouma an unavoidably non-traditional kick, and the guitars (primarily by the singer herself) have a crunch missing from her early recordings. [May 2013, p.85]

Surprises include End Of Night, nicely brutish electro-pop where Dido's automaton vocal really works; funked-up raga/calypso Love To Blame; and Sitting On The Roof Of The World.... Otherwise, Musak coming soon to a changing room near you. [May 2013, p.88]

He's boosted by a heart-and-soul R&B ensemble, but every hard-earned wrinkle on that still fierce visage remains in working order. [May 2013, p.90]

This colourful fruit ain't rotting yet. [May 2013, p.90]

Song titles like Soothe My Soul and The Child Inside suggest phoned-in conventionality, but there are edgy moments here. [May 2013, p.85]

Vanishing Point might be the best of this bunch, the group's B-movie R&B leaner and lairier than ever. [May 2013, p.86]