Intimately compelling, from his first strum to last breath, Regan passes the acid test of songmanship; all 10 are perfect as they are. [Feb 2013, p.109]

[Pure Love] spiritedly serves up a full album's worth of way-above-par songs, which are radio friendly. [Mar 2013, p.109]

The title track of their fourth album actually begins with a similarly buoyant vein. [Feb 2013, p.107]

His gently intense third album is sometimes breathtaking in its melancholy sweep and songwriting skill, and always absorbing. [Mar 2013, p.96]

It's furious stuff. [Mar 2013, p.101]

Guttural, brutal, and very unpleasant. [Mar 2013, p.101]

There's is much self-dramatising talk of "crazy dreamers," but no magical thinking in the music. [Mar 2013, p.102]

Fusing dubstep and rock worked for Pendulum but it's all too easy to get the balance wrong. Josh and Tony Friend's efforts have succeeded in getting their singles onto Radio 1's A-list, but it's an idea that stalls on their debut album. [Mar 2013, p.107]

Everything is dislocated, kinked and inhuman. [Jan 2013, p.105]

It's a revelation from start to finish and up there with Oldham's best work. [Mar 2013, p.107]

It's arty and possibly proggy, but the warmth of Duncan Wallis's voice never lets it get distant. [Feb 2013, p.103]

Some toy-keyboard boogie-woogie and Krautrock expansiveness add to its charm. [Feb 2013, p.105]

His music, colorful and entertaining as it is here, has yet to supply a definitive answer. [Mar 2013, p.98]

Gary Clark, Jr merges smooth vocals with economical guitar wizardry and makes it all sound less wearyingly pub-rock by embracing the 21st century. [Mar 2013, p.95]

In the end, pretty and vacant just about covers it. [Mar 2013, p.94]

A little less austerity, however, might have made it easier to warm to the experience as a whole. [Mar 2013, p.94]

The musical collage approach, is the starting point for a captivating album of pop electronica. [Mar 2013, p.101]

The suspicion is that, in parts at least, No World was more satisfying to make than it is to listen to. [Mar 2013, p.104]

If seeker of the hip-hop's next wave need not apply, those with an appetite for rugged, screwfaced late-90's New York rap should find this keeps them scowling like it's 1999. [Mar 2913, p.111]

On ONIFC he tilts the balance back--slightly. [Mar 2013, p.111]

Hamilton's languid, Hope Sandoval-style cooing occasionally struggles to keep pace.... But when they're aiming true, Widowspeak strike gold. [Mar 2013, p.111]

Words are what sustain Push The Sky Away. [Mar 2013, p.97]

This is music of incredible warmth, where melody and emotion come before science. [Mar 2013, p.107]

A murkily enveloping record, but one that occasionally misses its predecessor's gonzo sense of fun. [Mar 2013, p.110]

Electric is a first-class showcase for Thompson's spine-tingling solos but not the consistent song collection that was 2010's Dream Attic. [Mar 2013, p.110]

The shadow of Mazzy Star's drowsy psychedelia still hangs heavily over everything they do. But they do it so persuasively, so single-mindedly, that it's never an issue putting that to one side. [Mar 2013, p.110]

By the end, it feels as if Tegan And Sara need to sharpen their edge before they lose their point completely. [Mar 2013, p.110]

Contentment makes Everett a less compelling narrator than devastation, but Eels still tailor songs rich in ideas yet stripped of unnecessary fat. [Mar 2013, p.109]