Radiohead refused to take part, but everyone else has embraced the idea, albeit with predictably mixed results. [Nov 2013, p.107]

The pomp they derive from taking dour post-rock to a rave--notably here in Prisms--is satisfying. [Nov 2013, p.101]

Chatma is a polished set. [Nov 2013, p.116]

Offering a clear connection with his melodically sophisticated, emotive songwriting of yore, it combines light an d shade while touching on such universal notions as the ineffable mystery of existence, how love is eternal and the waning of earthly powers. [Nov 2013, p.114]

Quite unlike any other record you'll hear this year. [Nov 2013, p.116]

It can feel on occasion like being rhythmically walloped round the head with a history book, but when Hamilton properly locks into the immediacy of his and Kim Moyes's immense electronic grooves, its undeniably powerful. [Nov 2013, p.114]

This is an epic musical journey. [Nov 2013, p.120]

Of Nelson's many collaborative albums, To All The Girls is simply among his best. [Nov 2013, p.112]

Scroobius will always smack of Marmite, but he's shaken off some of the whiff of student poet, even addressing bling culture without sounding like a finger-wagging cliche on Gold Teeth. [Nov 2013, p.105]

An album that should have seen Flynn take a step closer to Messrs Marling and Mumford has, sadly, been moulded into a bit of a snoozefest. [Nov 2013, p.102]

Where once Of Montreal sparkled, they're now mired in a plodding, asexual beige. [Nov 2013, p.113]

In Rolling Waves' most successful songs benefit from restraint. [Nov 2013, p.112]

This Is... Icona Pop does contain some enjoyable moments, but it's a hollow victory. [Nov 2013, p.117]

It's full of high drama, intense melancholy and crepuscular euphoria. [Nov 2013, p.116]

It's a record of dizzying scope and Janelle Monae is a terrifying talent at the top of her game. [Nov 2013, p.112]

If Ski Mask fails to be a hit now, though, give it 20 years and it'll be cult gold. [Nov 2013, p.102]

A perfectly acceptable retrenchment. [Nov 2013, p.105]

Scouse grump and Philadelphia radicals were made for each other. [Nov 2013, p.104]

Not all of it works but tracks such as the duskily euphoric Dojo Rising; Moonrabbit, all sunny, West Coast harmonies; and Ice Age Heatwave, which sparkles on a soundscape of otherworldly guitars, are epic in both sound and ambition. [Nov 2013, p.102]

All told it's a captivating listen that's proudly individualistic, heart-warmingly intelligent and beautifully intonated. [Nov 2013, p.102]

Imagery and music intertwine elegantly on Small Plane and The Sing and if it's not up there with Callahan's very best work, Dream River still runs deep. [Nov 2013, p.102]

This raw, unsettling album's backstory, rendered through protesting guitars, is what gives it its defiant edge. [Nov 2013, p.102]

More Than and We Both Know's saturnine piano chords offer a novel contrast to crisp synth-pop such as Somebody Who, where their talent for alluring yet artless arrangements really comes into its own. [Nov 2013, p.102]

Hard to believe they needed 13 years to make it, but Event 2 is well worth the wait. [Nov 2013, p.103]

Most of the musical elements remain over-familiar-swelling strings, understated beats, the odd crackly blues sample. [Nov 2013, p.111]

There's a renewed focus and a hitherto undetectable oomph, both achieved without jettisoning their trademark subtlety. [Nov 2013, p.116]

Beautiful and candid, One Breath proves Anna Calvi has her frailties. They just happen to be as captivating as her strengths. [Nov 2013, p.106]

This 20th album is his most overt and conscious attempt to wrestle with specific demons that [diagnosis of being in the autism spectrum] raises up. [Nov 2013, p.113]