Third album Black Dog Barking can be a lot of fun. [Jul 2013, p.111]

It might lack Ryder-Jones's delicate invention, but it's still a lesson in enjoyable lucid songwriting. [Jul 2013, p.109]

Less fixatedly house-centric than before, I'm Leaving incorporates fuzzy dance-rock under the influence of girl groups and New Order. [Jul 2013, p.106]

The default mode is now so soft as to resemble a big bowl of ice cream for a man who's lost his dentures. [Jul 2013, p.103]

[Co-producer Richard Hawley] takes Texas deep into their rock-soul roots without sacrificing their strengths or wearily re-treading past glories. [Jul 2013, p.110]

There are too many songs here set to the same humdrum pace. But those are the sort of flaws you expect from a debut. [May 2013, p.112]

When they're not trying to be someone else, these lavishly layered, exquisitely crafted songs add to the mystery of why The Veils keep missing out. [Jul 2013, p.112]

There's a curious romance at play throughout their debut album. [Jul 2013, p.112]

They're still relentlessly heavy, just less hypnotically so. [Jul 2013, p.111]

Four albums in and Tunstall's voice remains original and excellent. [Jul 2013, p.111]

False Idols might fall short of such heights [of his debut], but at least sounds like the same person made it to the studio. [Jul 2013, p.111]

Giant "woooaaahhs" abound but as with anything frantically chasing arena singalongs, Love Lust Faith + Dreams feels empty in the extreme. [Jul 2013, p.111]

Still Corners show that they're not just marking time and counting sheep. [Jul 2013, p.110]

A record that's been worth the wait, it's the sound of music made by true originals. [Jul 2013, p.109]

Songwriting thus warm and wise can't be as easy as Musgraves makes it sound. [Jul 2013, p.108]

He acquits himself impressively as pianist and singer, his affinity with the material elevating it above mere expensive pastiche. [Jul 2013, p.106]

His songs are funny clever, rather than funny ha-ha, making Dad Country a serious business. [Jul 2013, p.105]

Wilderness quickly makes it clear that the passing of time hasn't dampened down their taste for the macabre mysteries if existence. [Jul 2013, p.105]

It all feels empty, like they're striking a pose without knowing why. [Jul 2013, p.104]

It's her devastating voice and ear for the smallest details that ultimately makes all the difference. [Jul 2013, p.104]

The fifth album from New Jersey's The Dillinger Escape Plan is another step back towards the math-metal that made their name. [Jul 2013, p.103]

The Archer Trilogy were exercises in electronic indie that were sparsely fragile (pt. 1, mostly) or verging on Europop (much of Pt. 2). The final installment manages to combine both and is all the better for it. [Jul 2013, p.101]

They can still write a tune but they've done away with much of what made them unique. [Jul 2013, p.101]

It's a pleasant listen but never quite sparks. [Jul 2013, p.100]

Though the structures are still experimental, there's enough gentle rhythm and memorable refrains here to keep it grounded and gorgeous. [Jul 2013, p.100]

Benga is still adept at lacing abrasive beats with airplay-ready soul, but the songwriting doesn't always measure up. [Jul 2013, p.99]

When It Was Now comes across like French soft-rockers Phoenix without the arty twists. [Jul 2013, p.99]

The Devil Put Dinosaurs Here falls from the same mould [as 1992's Dirt]. [Jul 2013, p.99]