This band's charms are elusive, indeed, but uniquely compelling. [Dec. 2010, p. 99]

Musically, the influence of dubstep is readily apparent. [Dec. 2010, p. 99]

The Stockholm group return; their cement veneer hiding a riptide of emotions. [Dec. 2010, p. 100]

Maryland pop-punks are shamelessly commercial and ruthlessly effective. [Dec. 2010, p. 96]

Aficionados will hear a master ambient craftsman in his element. [Dec. 2010, p. 95]

Slick but foxy music from under pop music's best-maintained fringe. [Nov. 2010, p. 109]

If Elvis Costello's an all-timer it's because he knows what high seriousness is about. [Nov. 2010, p. 103]

A teeming sonic bricolage of absurd/disturbing found vocals, bizarre musical fragments and their own art-funk chops, it suggests kinship with Robert Ashley, Aphex Twin and Eno & Byrne. [Sep 2010, p.97]

Jones's fans with long memories will certainly want to hear the first four tracks, but the robustness, of sound, modernity of arrangement and cool, hard, clarity of distinctive delivery that once suggested her style would always sound fresh just fades away. [Nov 2008, p.110]

Ex-Orange Juicer bounces back, against cruel and unbelievable odds. [Oct. 2010, p. 96]

A missed opportunity, but there's still plenty of time to get back on track. [Sep 2010, p.92]

Lights does have its moments: the strident "Uner The Sheets" and the odd sounds of the Frankmusik-produced "Wish I stayed" stand Out. But when they're placed next to the overwrought, cliched ballad "The Writer" or the dodgy Europop of "I'll Hold My Breath" it adds up to a rather bland listen. [Apr 2010, p.92]

It's still a safe record, however, neither spasm of petulant experimentation hell-bent on commercial suicide, nor return to the good old days beloved by original fans but viewed warily by the new. [Nov. 2010, p. 94]

The Age Of Adz, by contrast, is problematic for its mind-boggling ambitions, as Stevens harnesses his folkier songcraft and complex orchestration to electronica. [Nov. 2010, p. 100]

Death, love, the ghosts they leave behind: these are grand themes, and Hegarty channels their spirit with magical grace. [Nov. 2010, p. 100]

With Halycon Digest, Deerhunter are dealing in an altogether different kind of tension. [Oct. 2010, p. 90]

Intelligent, funny, heartbreaking atl-rock, Hornby lyrics music and vocals by Folds. [Oct. 2010, p. 92]

Avoiding the experimentation of their earlier work, No Age's second album-proper delivers winningly subterranean pop, bruised and vulnerable tuneage haunting their feedback racket reveries. [Oct. 2010, p. 97]

Crush is a thrilling, giddy conflagration of hot and cold currents. [Oct. 2010, p. 97]

After all this time, Eric Clapton finally sounds at peace with himself; secure even. [Oct. 2010, p. 88]

Never willfully ramshackle or unfocused, Women tread the line between discord and delight with deceptive style. [Sep 2010, p.96]

There's no desperation here, just the sound of a fortunate man having a huge amount of fun. [Oct 2010, p.95]

Blacc's wise-beyond-his-years tenor, sounding eerily alike a young Bill Withers, perfectly fits I Need A Dollar's dignified mourn. Elsewhere, he skillfully evades mawkishness or trite sentiment on the moving Momma Hold My Hand. [Sep 2010, p.106]

The worst thing you can say about this record is it's low on surprises. [Sep 2010, p.103]

DFA DJ/engineer's gangshow debut. [Oct. 2010, p. 95]

System Of A Down frontman is caught trying too hard. Again. [Oct. 2010, p. 101]

Thirteen years after they retired Swans return with thunderous tour de force. [Oct. 2010, p. 104]

Strings, gospel choirs, outeros inspired by Queen--the Manics' 10th album cranks up the drama, but in their hands grandiose needn't be a dirty word. [Oct 2010, p.94]