There's nothing here that hasn't been heard before from countless others, but it's put together with impeccable taste and--importantly--a skilled ear for a tune. [May 2010, p.118]

Outbursts sees them returned to a duo and the acoustic cut'n'thrust of old. [Apr 2010, p.120]

Like most of his albums of the last decade, NonStopErotik covers all his stylistic bases. [May 2010, p.115]

Three Wu-Tang MCs join forces; bring the pain. [July 2010, p. 136]

There are slamming riffs to be found, but they're still wrapped within synaspse-melting mathcore that requires a PhD to genuinely appreciate. [May 2010, p.112]

Coconut is overly polite by comparison to 2006's Derdang Derdang. [Apr 2010, p.106]

Mostly this is the swingingest easy-listening country you can shake a cocktail at. [May 2010, p.127]

Ten Thousand and One Injuries works best when the frenetic pace eases up a little. [May 2010, p.122]

While Head First more than delivers on its title's promise of instant sensation, like an uncorked bottle of champagne, it inevitably loses its fizz. [Apr 2010, p.110]

Their sonic structures remain complex, and experiment still take precedence over entertainment. [May 2010, p.115]

It proves to be an entertaining and profitable arrangement. [May 2010, p.112]

Their trad arrangements of others' songs are bewitching, but it's a pity they don't pen more original songs. [Nov 2009, p.112]

Loveless-era My Bloody Valentine is still their touchstone, with dreamy vocals almost obliterated beneath washes of distoortion on "I Just Want To See Your face" and "Reprobate!," but they also thorw curveballs. [Apr 2010, p.119]

The Wonder Show of the World turns over life's topsoil to find the truths beneath. [May 2010, p.122]

It's engagiing enough that even the happily perplexing nine-minuter "The Well" breezes by with no danger of outstaying its welcome. [May 2010, p.117]

Chill-out with substance. [May 2010, p.117]

The Big To-Do is the familiar mix of big guitars and off-kilter storytelling. [Apr 2010, p.120]

The hushed mandolins of "Still Love You" nudge it toward Sufjan Stevens territory and "Wont's Lie" is a witty gothic waltz, but neither does enough to atone for the mawkish excesses eleswhere. [Apr 2010, p115]

Peepers mostly whizzes by in a heady blur, but when they paise for thought, a whole new layer of depth and intrigue emerges. [Apr 2010, p.116]

Delicate folk rock is hardly thin on the ground, but rarely is it tackled with such mastery. [May 2010, p.125]

This 11-song Lp is less freak folk than freak scene, as the trio balances lo-fi guitar crunch with Chris Weisman's adenoidal vocals. [Jul 20120, p.93]

It clings too rigidly to its electronic template and sorely lacks the breezy pop iinventiveness of old. [Apr 2010, p.115]

Cafarella's falsetto takes some getting used to, but the strategy pays off handsomly on the title track's chiimiing melody and the angular strut of recent single "Disconnected," even if the high point is actually DFA-worthy disco epic "Criss Cross." [May 2010, p.126]

Noel Gallagher-approved Alberta Cross's first offering fulfils the promise of 2007's "The Thief & The Heartbreaker" EP. [Oct 2009, p.105]

There was nothing like "Demon Days" before and there's been nothing like it since. Until now.[...] Plastic Beach picks up several steps on from where its predecessor left off. [Apr 2010, p.104]

The dizzying "Here Comes All The People," this roller-coaster album's highlight, merges post-punk trash with whispered vocals, orchestral wizardry, funky guitar, tub-thumping drums and Snow Patrol-esque grandeur. [Apr 2010, p.115]

This instant familiarity is their strength but also the source of the mild disappointment that nags through the rest of the record, since it mostly amounts to variations on a theme, few of which scale those initial heights. [Apr 2010, p.116]

While unmistakably Scottish leader Scott Hutchison has taken a great songwriting leap forward, the more ingredients his group throws in, the more effecctive and more inspiring the Selkirkers are. [Mar 2010, p.102]