It leaves a prescribed set of more or less familiar songs, sequenced randomly with in some broad chronological parameters. [Jul 2010, p.108]

By the album's close, however, his vulnerability risks tipping over into maudlin self-pity. [Sep 2010, p.103]

Deep-piling beautiful microorchestration and songs which in the fashion of mature-era Fanclub slowly yet unfailingly insinuate their charms. [June 2010, p. 95]

A titular palindrome for New Yorkers' covers CD. [June 2010, p. 96]

It's harmless, head-spinning fun. [Jul 2010, p.92]

O'Brien sees dead people, spits at love, puts himself inside the heads of fellow bus passengers and defies anyone to categorise his music. It's a rich experience making the attempt though. [Jul 2010, p.92]

Though the production is by no means slick, the music emerges vividly from its hithero murky world. [Jul 2010, p.93]

While Grace Potter's vocals are unquestionably impressive on this fourth album--she still hasn't carved out a trademark voice of her own. The music is equally bland. [Sep 2010, p.102]

Peggy Sue have jettisoned some of their quirkier traits (past gigs saw them play a tambourine nailed to an old school desk) to deliver a debut with a great deal more grit and fire in its belly than their earlier EPs would suggest. [June 2010, p. 93]

Four albums in and their metronomic nursery rhymes are still capable of delivering pop thrills. [June 2010, p. 104]

Johnson considers the world's woes with gentle reflection rather than recrimnation, along the way hoping to illuminate his son's path to finding his own truth. [July 2010]

Sun-scorched heavy blues rock from Cosmic Californians. [July 2010, p. 94]

Sleigh Bells offer a thrilling ride. [Sep 2010, p.104]

An astonishing landmark, and great record, wherein the Mod once again becomes The Modernist. [May 2010, p.94]

A return to the Guillemots beckons, then, but Fly Yellow Moon is still an enthralling and at times euphoric affair. [Feb 2010, p. 97]

First Aid Kit's debut sounds like a signifier of greater things to come. [Mar 2010, p.90]

A quirky, theatrical record that's full of pomp and self-importance, The Family Jewels is never less than exciting, but it does try a little too hate to be zany. [Mar 2010, p.100]

LaVette says thank you to the British Invasion for bringing soul back home. [July 2010, p. 103]

Beck-assisted psychedelic electronica from Black Moth Super Rainbowman. [July 2010, p. 98]

Its troubled state suits the melancholy in Hinson's soul, his broken burr laid like a wreath across lingering strings and the wistfulTexas twang of his tunes. [Jul 2010, p.104]

Familiar elements (Nancy Wang's cheerleading vocals, sparse instrumentation colliding, lyrical misanthropy) are present and correct, but everything is bolder and deeper. [June 2010, p. 93]

When the opening track of this third album features CSN-style harmonising about hotel lobbies, you wonder if they're trying a little too hard to sound like a burnt-out folk rock supergroup from 1971. [June 2010, p. 92]

The old stomp is still here, but Alabama has stoked The Black Keys' dark side. [June 2010, p. 93]

Lidell's bluesy wail goes head-to-head with a dense, churning groove in what can best be described as anti-R&B. [June 2010, p. 97]

What with that album title, a wistful opening waltz, entitled Oh, The Divorces! and a beautifully resigned lament called Singles Bar ("Can you tell how long I've been here? Can you smell the fear?", the theme of mid-life crises hangs heavy over these 10 simply arranged vignettes. [June 2010, p. 92]

[This album] finds a glorious similitude between the two disciplines. [Jul 2010, p.92]

Whatever you're doing, I guarantee you'll stop and listen to every word. [Jun 2010, p.102]

Keep Calm...is a perfectly good album, but it strives for nothing more. [Dec 2009, p. 90]