Fatally it offers nothing to suggest a band moving forwards. [May 2013, p.109]

It's ridiculous and a lot of fun. [Apr 2013, p.100]

Those two moments ["Powerless" and "Waiting All Night"] aside, Home is a very satisfying debut. [May 2013, p.107]

Lyrical concerns are accordingly way less uptight and conceptual. [May 2013, p.99]

For the listener wanting a more reflective experience, 50 sometimes enthralling minutes await. [May 2013, p.94]

Shocking, in the best sense. [May 2013, p.99]

It takes alt-rock drama and boy-band syrup and bolts on some fun.-size arena-singalong choruses. [May 2013, p.103]

Concise at just 30 minutes, perhaps explaining why "the concept" is not fully realised, but it's still unlikely you'll hear a better anti-fascist-Marxist-electro-pop record all year. [May 2013, p.106]

Its rambling nature irks, for in among its nearly 80 minutes there are pop diamonds that would have made a sharp and spectacular single LP. [May 2013, p.109]

Even if this album is only for a limited audience, it's the sound of a band pushing onwards and upwards into the blue. [May 2013, p.94]

Some judicious pruning would have helped, but this is a promising first step forwards, even if it spends it s entire running time looking backwards. [May 2013, p.96]

Along with Johnston's clanging, winningly direct originals, there are contributions from fellow alt-rock comrades such as Eleanor Friedberger and, perhaps more surprisingly, Jake Bugg. [May 2013, p.104]

Far from a mid-life indulgence or quirky side project, this is a brave and beautiful album. [May 2013, p.102]

Paul Kelly still captivates with the strength of his storytelling. [May 2013, p.102]

The follow-up adds a little of their own personality and comes submerged in a refreshingly bratty wall of noise. [May 2013, p.107]

It's a tangled combination, but if you've got the patience it's worth trying to unpick. [May 2013, p.101]

Now on their fourth singer, their music is built on lunkheadness, all dumb riffs and blustery choruses. [May 2013, p.99]

Wisely, everything is as it was. [May 2013, p.111]

[The glitchy beats and samples] gives them a whole new playground but even the most synthesized moments here sound natural and unforced. [May 2013, p.109]

One to bask in. [May 2013, p.94]

Birthmarks is far from being a poor record, but it's limited in ambition and reach. [May 2013, p.97]

These considered songs are slow to blossom but, like Junip, they're worth the wait. [May 2013, p.104]

Externalising her feeling with space and power, I Awake gives everyone's inner life its due, the personal rendered universal. [May 2013, p.95]

Pretty much everyone sleepwalks through a cabaret mix of standards and new songs. [May 2013, p.102]

A simple, joyful late-career bloom. [May 2013, p.106]

Not everything succeeds but on Imagination's fusion of ambient synths and stadium-rock guitars or the electro-pop of Collide-A-Scope, Rundgren fashions a sound that offers nods to his '70s prog past but still sounds utterly of the moment. [May 2013, p.109]

Each of the 11 new songs on Bottom Of The World twinkles mournfully, chamber-country meditations which blend the playful and sinister in his patented fantasia set in the US-Mexico borderlands. [May 2013, p.95]

Third time around there's some deviation from the formula, but the lack of subtlety is a little wearing. [May 2013, p.95]