Purists may lament the loss of some immediacy to his songs. [Jun 2013, p.95]

Untamed Beast proves the band to be much more than just the rock'n'roll Alabama Shakes. [Jun 2013, p.95]

They've long threatened to make an album that would propel them to metal's major league. This might be it. [Jun 2013, p.95]

This is living, breathing music that avoids the trap of comfy nostalgia. [Jun 2013, p.94]

His new project is even more deranged, much of its sounding like Butthole Surfers driving at you on a space-age steamroller. [Jun 2013, p.93]

This fourth album finally hits the spot. [Jun 2013, p.93]

This is no Loveless but it is lovely. [Jun 2013, p.93]

Their fifth album is more about the song and less groove-based than their previous output. [Jun 2013, p.90]

A collection of songs that are either from or reflect different eras of his work--all linked by his idiosyncratically engaging vocals and melodies. [Jun 2013, p.108]

This band aren't about confrontation, and to those attuned, this is exactly their strength. [Jun 2013, p.109]

Covering Blondie's Sunny Girl in a straight '70s power-pop style seems strangely redundant, but easy listening standard Hold Me, Thrill Me, Kiss Me suits She & Him down to the ground. [Jun 2013, p.104]

When they equal their best source material, they're brilliant; but when that material is merely daft, they're less good. [Jun 2013, p.104]

This debut is dip-dyed electronica for the Tumblr generation. [Jun 2013, p.103]

Choruses fizzle, lyrics fail to engage and every song is at least a minute too long. [Jun 2013, p.102]

The only annoyance is the production, which seems to believe that America will only buy rock by a Scotsman from London if it's laden with stadium-pop Waterboys/Mumfords/Titanic Celtic cack rock. [Jun 2013, p.101]

If you haven't bought one of his [Mark Lanegan's] records for a while, this is a great place to get reacquainted. [Jun 2013, p.100]

It's hard not to be drawn into their occult world. [Jun 2013, p.99]

Savages are still best viewed in the wild, then, but Silence Yourself documents a spirit and passion that could never be background music. [Jun 2013, p.98]

While there are some fine original songs, it's Harvey's choice of covers and collaborations that are most telling. [Jun 2013, p.98]

Primal Scream haven't sounded this vital in at least a decade. [Jun 2013, p.97]

Not since Massive Attack's Blue Lines have a heavy heart and urban dread been so absorbing. [Jun 2013, p.97]

A delicious vision of pop crooked enough to pull corks with. [Jun 2013, p.96]

Not all the tracks have the same impact, however, and a certain sameness in tone saps thrills. [Jun 2013, p.95]

While it's genuinely marvellous to hear one of pop's most underrated voices back, you do long to hear material suited to the modern era. [Jun 2013, p.94]

The result is gorgeous. [Jun 2013, p.93]

He seems content to occupy the same '90s underground niche he's always done. [Jun 2013, p.90]

Amidon has honed his music's suspenseful edge. [Jun 2013, p.90]

Those who think that somewhere, a liberal arts college is missing its creative writing teachers, might not be surprised this is a clever record. It's also, however, one that glows with tangible human warmth, heartbeat never failing to keep pace with its brainwaves. [Jun 2013, p.91]