A breezy, rangy collection of songs that give the impression of a man keen to make a move without over-analysing too much. [Aug 2013, p.102]

There's something about these piledriver riffs that remains powerful yet lacking in punch. [Aug 2013, p.96]

A touch more light amid the shade, though, and this would be a more redemptive listen. [Aug 2013, p.95]

Added to this unlikely musical melting pot is singer is Nikolaj Manuel Vonsild's falsetto, occasionally reminiscent of both Arthur Russell and Antony Hegarty. [Aug 2013, p.107]

Vocally, Fogerty still shreds, and this lively album omits enough of his gems to hint at a sequel. [Aug 2013, p.97]

Desperation proves that only modest mellowing has taken place in the interim. [Aug 2013, p.103]

It's quirky without being kitsch, and another fine addition to Smith's varied back catalog. [Aug 2013, p.105]

It's not all restrained and even if in parts it sails too close to generic Americana, there's much evidence here that O'Donovan is one to keep an eye on. [Aug 2013, p.103]

Tomorrow's Harvest delivers oceans of spare, mellow and melodic electronica, but what it doesn't offer is much in the way of surprises. [Aug 2013, p.98]

Oddly compelling, even if the coldwave atmosphere seldom rises above freezing-point. [Aug 2013, p.101]

It ditches classic thrash for bland classic rock. [Aug 2013, p.96]

Writhing and urgent, it's the record that might make them stars. [Aug 2013, p.101]

It's strong medicine for sure, but also an astonishing record that will haunt you long after it's finished playing. [Aug 2013, p.98]

If his production has lost a little funkiness it's gained buckets of emotive power. [Aug 2013, p.100]

A dazzling alloy of vintage progressive jazz and synthetic digital funk fired by unashamedly cosmic aspiration. [Aug 2013, p.106]

It's not a bad album, but In The Warzone lacks the broad allure of what made Transplants interesting in the first place. [Aug 2013, p.106]

Spacehopper is out there, yes, but not so out there that you can't still admire it from Earth. [Aug 2013, p.106]

As it stands, the lack of genuine emotion here does the musical invention shown on Turbines a disservice, and ultimately delivers Tunng's least satisfactory album to date. [Aug 2013, p.107]

Palms is a heavy, explorative listen. [Aug 2013, p.96]

Sistrionix doesn't always keep up the consistency, but Deap Vally have enough swagger to fill in the gaps. [Aug 2013, p.96]

Mischievously sexy. [Aug 2013, p.94]

At its best when following pop inspirations on Torn Maps or Turtle, it's still a challenge--just less so than the 11-minute jazz-rock freak-outs of old. [Aug 2013, p.95]

The results may not add to a fanbase that struggles to extend beyond the UK and the good folk of Belgium and Germany, but Editors give themselves a new lease of life here. [Aug 2013, p.94]

With Electric, Pet Shop Boys have succeeded spectacularly. [Aug 2013, p.92]

The plush, throbbing synths and twinkling tension that filled Feel It Break are conjured again here, but there's a subtle shift this time in the dynamic and Olympia's power lies in its marimba-infused percussion. [Aug 2013, p.93]

Between The Walls is a fascinating insight into the creative process that crackles electrically between Taylor, John Coxon, Charles Hayward, and Pat Thomas. [Aug 2013, p.93]

By the end, they're almost sounding like their own band, rather than a Thin Lizzy tribute act. [Jul 2013, p.100]

The Grenoble DJ/producer's third and best solo release, may feature some ropey lyrics, but the sultry dominatrix voice in which she intones them helps her get away with it. [Jul 2013, p.108]