This is the sound of someone learning, brilliantly on the job. [May 2013, p.96]

An acquired taste, but an enjoyable one. [May 2013, p.94]

Less dazzling than Silent Shout, but The knife still create a world like no one else's. [May 2013, p.105]

It hasn't got all the best tunes, but this bullishly self-titled album hits the target like a hair-dyed, tattooed William Tell. [May 2013, p.111]

This doesn't veer wildly in style from Vile's previous four--he still sounds like a stoned Springsteen singing from the bottom of a well--but his songwriting reaches a mesmeric peak. [May 2013, p.112]

It's one of their finest. [May 2013, p.98]

There might not be any hits, but it's still a convincing chapter few would have predicted. [May 2013, p.102]

Enjoyable and fresh, retro and modern, English Electric's only fault is that its creators try a bit too hard to sound like their own past. [May 2013, p.107]

As much as it recaptures some of their buccaneering early spirit, it also shows off some explosive new tricks too. [May 2013, p.108]

It's a more commercial, fuller album, even if it does slightly lack the spirit of their previous work. [May 2013, p.105]

This follow-up takes on a conventional band set-up, but it's as impressive, offering a crisply original take on the classic singer-songwriter approach. [May 2013, p.109]

The Terror is dark and experimental, full of synths and loops that owe more to Krautrock than guitar bands. [May 2013, p.101]

The album possibly fails to deliver singles like Wolfgang Amadeus Phoenix did, but nothing here suggests unpaid debts, a splurge before the bailiffs come or a lack of confidence, despite the title. [May 2013, p.97]

Bolstered by members of Dylan's band, the songs are built on buoyant '60s pop and Beach Boys harmonies soar alongside lively brass. [May 2013, p.103]

His sometimes-still-too-warbly voice is the main instrument on this follow-up, but it's pockmarked with new friends' influence. [May 2013, p.96]

Yes, he's a magpie--like, is My Girl really not a Ramones cover?--but Willy Moon is classy, forward-looking and 100 per cent on the money. [May 2013, p.100]

Numbingly tedious, bashed-out-in-an-afternoon grunt-a-longs about, well, numbingly tedious stuff that we may already have come to term with. [Aug 2012, p.109]

American Twilight is lifted above cliche, though, and works best when heading full pelt toward the horizon. [Apr 2013, p.98]

Wu-Tang devotees won't be disappointed. [Apr 2013, p.94]

A powerhouse of big riffed rock 'n' roll drenched in '70s sunshine. [Sep 2012, p.110]

Understated is a great album, but that's what we've come to expect from Edwyn Collins. [Apr 2013, p.97]

A sombre listen, but a rewarding one. [Apr 2013, p.103]

Although this is a little more concise than their usual output, everything else about their blues-rock bruisers is business as usual. [Apr 2013, p.100]

A constant sense of discovery makes Colored Emotions an easy record to keep returning to. [Apr 2013, p.107]

Nostalchic is texturally dense, yes, but made of simply swoonsome stuff. [Apr 2013, p.104]

Comedown Machine is their best album since they hit perfection with their debut. [Apr 2013, p.102]

There are flashes of greatness here. [Apr 2013, p.110]

The results are mixed. [Apr 2013, p.94]