Carefully constructed with plenty of inventive, multi-layered vocals, it works best on the livelier songs. [Apr 2013, p.93]

Ring makes it work by resisting the urge to do anything that resembles grandiose. [Apr 2013, p.94]

It's a transformation that makes the delicate beauty of what comes before even more startling. [Mar 2013, p.102]

The 15th album of punk-tinged metal has enough spark to show that they can still dance with the Devil. [Apr 2013, p.100]

It's the music's fiendish complexity and flashes of sublime harmony that captivate. [Apr 2013, p.96]

She plainly knows the meaning and benefit of brevity. [Apr 2013, p.110]

There's stark simplicity to Tonra's lyrics that's evocative enough to consistently land emotional haymakers. `[Apr 2013, p.99]

Life after Defo occasionally feels like flicking through someone's heartbreak diaries. [Apr 2013, p.99]

Keeping hold of their past while seizing the present, Suede are still capable of taking you over. [Apr 2013, p.98]

Fortunately, the game of spot-the-influences swiftly gives way to more complex pleasures. [Apr 2013, p.113]

It's the orchestral pop of Red Rover, Red Rover and the others that sweep the album along. [Apr 2013, p.113]

As a 36-song sequel, the album drags at times. But there's buried treasure here too. [Apr 2013, p.112]

As piano and strings crescendo, concluding Pale Green Ghosts' uncommon vistas of seriousness, levity and disco dancing, you can imagine the singer departing in triumph, and anything but an underdog. [Apr 2013, p.112]

Their gentle, dreamy glide sounds like Foals without the hubbud. [Apr 2013, p.111]

Meditative yet pulsing, awkward yet affecting Suuns' contrasting waves deliver an eerie, engaging adrenalin rush. [Apr 2013, p.111]

There are eager minds at work here. [Apr 2013, p.110]

Graffiti On The Train is a powerful attempt to drop their meat-and-potatoes image. It doesn't always work, but it's to be applauded. [Apr 2013, p.110]

The Stand-In succeeds in sounding expansive without losing any of its intimacy. [Apr 2013, p.109]

It's all as plush and spotless as hotel bedding--lovely, but it may leave you craving a bit a mess. [Apr 2013, p.109]

Beta Love ultimately feels unfinished. [Apr 2013, p.109]

Fans of early Beck, Spacemen 3 and Galaxie 50 will love it. [Apr 2013, p.109]

While the more traditional sounding songs that remain are unquestionably excellent, it does seem odd to leave such a good idea only half explored. [Apr 2013, p.108]

MBV isn't perfect; sometimes the songs do drag, but the brilliant moments are so brilliant, and the exciting moments so exciting that you'll forgive them. [Apr 2013, p.108]

Much of this third album comes on like a bubblegum Breeders, sparsely arranged around Nash's spinal basslines. [Apr 2013, p.107]

The first few tracks feel like a positive transformation into sharper songcraft, but when New Moon latter half descends to the noisemongery of yore, right down to Freaky's flat-out Dinosaur Jr.-ism, one does have to ask: will the real Men please stand up? [Apr 2013, p.107]

Mount Moriah give the Southern tradition an indie-rock twist that's more effective the further they go. [Apr 2013, p.107]

Gloomy and wonderful. [Apr 2013, p.105]

While such single-mindedness doesn't leave much room for light and shade, at its best Pearl Mystic is testament to the power of head-nodding repetition and well-stomped FX pedals. [Apr 2013, p.104]