Two Gallants make good on their promise with this third LP. [Oct 2007, p.94]

Joni Mitchell delivers a counter-intuitive, brilliant artistic response. [Oct 2007, p.90]

A strong contender for soul album of the year. [Oct 2007, p.98]

'Dancing On Our Graves' pumps out a footstomping rhythm but there's no happiness here, just bleakness, and all the more convincing for it. [Mar 2008, p.112]

Harte's mixture of charisma, vulnerability and errant tunefulness holds everything together. [Nov 2007, p.95]

It is her most intense, but perhaps also her most pleasurable excursion yet. [Jan 2008, p.104]

The World is Yours falls too short. [October 2007, p.102]

Once Upon A Time In The West treads a similar path [as "Stars Of CCTV"], though this time Richard Archer and co have packed in more guitar wallop and catch-all harmonies. [Oct 2007, p.90]

It's a shame Drastic Fantastic disappoints. [Oct 2007, p.92]

Much of All The Lost Souls is far more icky-yucky than its predecessor. [Oct 2007, p.90]

The material is of consistently luminous order. [Oct 2007, p.90]

The best of these songs are easily a match for Broken Social Scene. [Nov 2007, p.106]

It may be that RW are out to capitalise on previous use of their music in shows such as "The O.C." and "Weeds," but Rogue's voice--as angelic and tender as those of Buckleys Tim and Jeff--is a joy throughout. [June 2008, p.103]

Lyrically, he may occassionally jar but it's hard not to be uplifted when he lets rip on the opener 'Setting Forth' or when he and Sleather-Kinney's Corin Tucker chime on 'Hard Sun.' [Dec 2007, p.100]

They offer up a wonderful lysergic carousel of communal singalongs, spiked pop and tribal hoedowns. [Nov 2007, p.95]

Let's Stay Friends is a triumphant fusion of graft and glimmer. [Nov 2007, p.96]

High On Fire's fourth album sees them once again on thunderous form. [Nov 2007, p.95]

The Western lands proffers a winning cocktail of shimmering guitar harmonics, grand sweeping choruses, drums that avoid funk like the plague and solemn, psychogeographi lyrics from the Ian Curtis school. [Oct 2007, p.94]

Frustratingly, that search [for plaidits] and presumably producer du jour Ethan Johns--has led them into the uncomfortable territory of bombastic, charmless "October/War"-era U2. [Oct 2007, p.92]

An album of mischievous melody, fairground keyboards, cut'n'paste aural collage and an undeniable love of pop all but buried in junk shop Dadaist clatter. [Oct 2007, p.106]

The album sounds squashed and claustrophobic, but lacks the sense of play that still characterises his clever, incident-packed rhymes. [Oct 2007, p.106]

The tune count is down and it's sometimes a little too Mr. Motivator, but these sonic smiles can still be infectious. [Oct 2007, p.106]

Happiness Ltd is all about neat production, inventive time changes and romantically inclined witticisms. [Oct 2007, p.92]

Bluefinger marks an artistic rebirth for the king of quiet/loud. [Sep 2007, p.110]

There's the unmistakable whiff of eternal under-achievement that pervades cute but forgettable ditties like 'Share Of Men' and 'Heartbroke.' [Oct 2007, p.98]

They still pack a metallic, tight-as-you-like punch that's more than ready for 10 rounds with Yow's gnarled voice. [Oct 2007, p.98]

Autumn of the Seraphs is some of their punchiest work, packed with euphoric melodies, wry lyricism and subtly enhanced grooves. [Oct 2007, p.99]

Fireworks teems with drama. [Oct 2007, p.102]