On this career highlight they deliver their memorandum as effectively as at any time in their 30-odd-years of operation. [May 2013, p.113]

Wilson never forgets the melodies or real sentiment. [May 2013, p.113]

They up the anthem count and resemble a lo-fi Dire Straits. [May 2013, p.112]

["Cadillac Walk" is] a refreshing change of pace on an album whose smoothness palls just a little over 12 songs. [May 2013, p.110]

The melodies running through City People, City Things and Julie, with their hints of Paul Simon at his most wistful, are the measure of anything from Rouse's 2002 purple patch. The rest is charming if sometimes sugar-sweet and a little too inoffensive. [May 2013, p.109]

Ritter's seventh album may not be quite the same league as Dylan's masterpiece, but post his own divorce it does contain all the same edgy recrimination and pain. [May 2013, p.109]

[The soundtrack is paring] the sound down for wistful and occasionally beautiful miniatures. [May 2013, p.106]

Though Candela never fully eludes to Pierce's studied background, the foundations are strong enough for him to go wild with the decorations. [May 2013, p.106]

A surprisingly well-nourished beast. [May 2013, p.105]

Silvery two-part harmonies, cello and snare rolls combine to excellent effect on Light Out, while Drummachines lopes along, a fuzzy bass loop and booming drum kicks offset with mildly Auto-Tuned vocals. [May 2013, p.103]

Sad, happy, tragic and triumphant, just like country music should be. [May 2013, p.102]

The Growlers might just be on to something here. [May 2013, p.101]

There are songs here which recall protestant hymns, others full of Kurt Weill cabaret humour and slick, modern white blues that suggest an energised, liberal attitude to the traditions in which he's working. [May 2013, p.101]

They pack in an astounding brutality reminiscent of Napalm Death's grueling grindcore. [May 2013, p.99]

On Old Sock, he sings some that are to him as comfy as and to us as whiffy as the album's title. [May 2013, p.99]

There isn't quite enough to genuinely stand out from the crowd. [May 2013, p.98]

At the infernal din's core are some excellent, urgent songs of anti-fashion disillusionment. [May 2013, p.98]

Jovi's delivery of the usual cliches has a curious, sickly sheen. [May 2013, p.96]

This is cosmic R&B. [May 2013, p.95]

His revisiting of old tapes and melodic ideas from his tenure mean it echoes his former group's discography in rewarding ways. [May 2013, p.95]

[A] forgettable collection of rheumy blues and soul rock. [May 2013, p.98]

There's nothing here to match the heavy thump of his mid-noughties collaborations with the Melvins such as Sieg Howdy!, but it still punches hard. [May 2013, p.95]

They're still here and they're still very good. [May 2013, p.93]

This isn't his masterpiece, but it is the unexpected sound of the road of excess leading to the palace of wisdom. [May 2013, p.103]

Occasionally distant, the restrained urgency of Dracula and soulful vocals of Closer ripple with an enticing warmth. [May 2013, p.113]

[They sound] pissed off, over-amped, just the right side of sloppy, shorn of the brass grafted into recent outings--i.e. exactly like themselves. [May 2013, p.106]

Amygdala is the sort of wonderfully slowed-down and spun-out electronica that suggests DJ Koze should get himself into the studio more often. [May 2013, p.104]

This a rare and colourful leap forward. [May 2013, p.102]