Euphoric and uncompromising, Folly us up there with KOD's best work. [Nov 2013, p.109]

It's all good, clean, Beatles fun, on a record that celebrates a heart-warmingly more romantic and innocent age. [Dec 2013, p.118]

It still nods to The Velvet Underground and strung-out '80s pioneers Spacemen 3 and Loop, but chord changes are no longer as rare as Shane MacGowan's teeth, and there's more of a pop sensibility. [Dec 2013, p.117]

The follow-up isn't quite so startling [as his debut] and the horrible guitar indulgence of Dear Friend is his first major misstep, but assisted by Jackson Browne, David Crosby, assorted Heartbreakers, Roy Harper and Wilco's Patrick Sansome he's evolved. [Dec 2013, p.117]

Free from any external pressure to conform, Hebden has managed to make a wholly uncompromising record that remains compulsive from start to finish. [Dec 2013, p.115]

There is a slight foal-legged wobbliness to some of her allusions, some of the ardour, a roughness that prevents When Winter's Over or Come To Terms from being a too-mature blend of Cat power and KT Tunstall. [Dec 2013, p.115]

In all, a most diverting, Frankenstein-esque collision of caveman demon worship and unhinged science. [Dec 2013, p.115]

So far, so US-obsessed, but scratch below the surface and there's a charismatic quirkiness to Tinie, that makes him an artist apart from his contemporaries. [Dec 2013, p.113]

It's stylistically close to 2012's excellent Interstellar, but on this form, too much of a good thing just isn't possible. [Dec 2013, p.112]

For Polica, chilling out means going way below zero, resulting in an icy glitter that is seductive but ultimately freezes you out. [Dec 2013, p.112]

A consistently impressive record. [Dec 2013, p.111]

It's all resolutely urbane and largely unmemorable. [Dec 2013, p.110]

This crosses the border from homage to mimicry. [Dec 2013, p.108]

A record tremblingly alert to the darkness, it flickers like a candle in the gloom, a victory for the forces of good against all odds. [Dec 2013, p.107]

While that may sound par for techno course, it's shot through with discordant sonics and a bubbling surface that makes even the most wildly different moments feel like part of the same voyage. [Dec 2013, p.107]

Alongside the routinely powerful rocking there are tracks that might have similar impact to 2006 smash Chelsea Dagger. [Dec 2013, p.106]

This latest studio offering is equally tricky to categorise. The mood, though, never overwhelms. [Dec 2013, p.105]

Breathlessly current in its maxed-out production, but also properly robust, Bitter Rivals should turn Sleigh Bells into serious contenders. [Dec 2013, p.104]

The formula really sparks when the layers of sounds are given firm edges. [Dec 2013, p.103]

At its worst, it comes across as parody of one of Primal Scream's cod-Stones missteps. Only once do they drop the Southern shtick. [Dec 2013, p.102]

A dark well of frustration, anger and guilt illuminated by just the smallest crack of redemptive light. [Dec 2013, p.106]

A staggering, intoxicating record. [Dec 2013, p.116]

No Blues is their best album yet. [Dec 2013, p.109]

He doesn't break into this persona often enough, slipping back into ILP's default tone. [Dec 2013, p.109]

It isn't perfect but it adds up to an intimidatingly assured opening shot from a major new talent. [Dec 2013, p.108]

Prism feels transitional, the work of an artist clever enough to be restless, yet unable to split from a winning formula. [Dec 2013, p.110]

Wed 21 is a great place to enter Molina's world, but doesn't tell fans anything they don't already know. [Dec 2013, p.110]

There's no hint of an artistic left-turn here. [Dec 2013, p.103]