Drummer Gianni Honey and bassist Daniel Rumsey create a magnificently grungy smear of grinding fuzz, before Bell’s squalling guitar adds just the right amount of 1950s style terror to proceedings. And there are sufficient quantities of those sort of moments to make this a very fine debut.

Even though this is her ninth album, she still sounds fresh.

A truly superb comeback.

It doesn’t hit the heights of his debut nor is it quite so thrilling; however, it is certainly an impressive work nonetheless.

At times, a startling album--one that will please Hitchcock obsessives and also provides a decent gateway for the uninitiated.

It’s a lot more ambitious and experimental--more often than not, anyway--than previous releases. When it stumbles, it’s merely fleeting. There’s no doubt that their reputation is intact.

Wilderness Of Mirrors provides satisfying proof that there is still plenty of value, purpose and life left at the margins.

The overall impression [is] that Alarms In The Heart is overall an opportunity missed.

Listening to Meshes Of Voice is somewhere between a terrifying hallucination and a relaxing daydream. It makes it a memorable, and strangely enjoyable, experience.

There’s more than sentimentality to these songs; they resonate at a more fundamental level.

Like all of Wainwright’s music, Haven’t Got the Blues (Yet) will divide opinion, depending on whether the listener enjoys his style; but whether the listener agrees with him or not, they cannot surely be unaffected by his rich outpouring of love, amusement, scorn, wit, and above all, spirit.

In The Wild has some super solid additions to any electronic music playlist--the singles mentioned previously are pretty damn hot--but exploring it front-to-back is simply too much to handle.

Although unlikely to have any individual impact on CBC’s all-time song chart, it’s yet another consistently good all-round album out of Canada.

Shelter has plenty of moments of understated genius, and it’s fun to watch a producer find what works for him or her as their game just begins.

Foundations showcases the development in the band’s songwriting skills.

The Magic Numbers’ latest LP may not be perfect, but it is a big step in the right direction.

The overwhelming feeling at the end of Black Rat is that this is a band with a lot more up their sleeve.

Angst-rock is promised, but power-pop is ultimately delivered.

This is emotional, mature art you listen to on some lonesome night--or with a loved one--intently, focused, and open. You will not be disappointed.

There is pain, frustration, beauty and love whistling away in every crevice of this album.

As a standalone album From Scotland With Love is good, but found wanting in areas of length and substance. As a soundtrack to a film, it’s wonderful. The context to choose is the listener’s.

Its inviting atmosphere, the beautiful playing and gorgeous harmonies make for an approachable, if not wholly accessible, record.

Something wonderful and terrible has happened in the world of Shabazz Palaces, and there’s no choice but to join the wild ride.

It’s remarkable the album sounds so cohesive and richly defined.

Though scattershot emotional mayhem, this album is a resounding triumph.

Musically, I’m Not Bossy is pure pop with a wonderful glam mindset, but there was certainly more lyrical attention needed for it to succeed its intended purpose.

The Voyager is less of an addition to her back catalogue than a summary of her work to date, dipping into different eras of Lewis, and not settling on any.

Simply put, When The Cellar Children See The Light Of Day is one of the best albums of the year.