Startling, shape-shifting music by a band reaching the peak of their powers. [Mar 2013, p.108]

The deeper emotions being stirred this time around fans out to several other highlights. [Mar 2013, p.106]

Pomposity reigns and the songs are too one-paced to ignore it. [Mar 2013, p.104]

The baroque embellishments of Nowhere To Go and Blind Eye are a perfect dressing for the emotions that created them. [Mar 2013, p.104]

Their sixth album has everything you should want from a rock group: riffs, daring ambition, big choruses and a bit with bagpipes in it. [Mar 2013, p.103]

It may do little to make non-believers go his way, but Get Up! sizzles with intent from the off. [Mar 2013, p.102]

[The band's] hardcore sound is as tricky to keep up with as ever. [Mar 2013, p.101]

The spirit of drunk adolescence, cramped kitchens and broken valuable endures on their frightfully fun debut. [Mar 2013, p.101]

[Bryan Ferry] corkscrews the concept in an instrumental tribute nit only to the very first cocktail'n'cocaine era but also to his own serpentine melodic gifts. [Mar 2013, p.101]

On this voodoo-inspired record of unfettered ambition, Foals have achieved a rare magic. [Mar 2013, p.100]

It's a solid album. [Mar 2013, p.99]

[The band] hasn't compromised the pitiless bleakness of Scott Hutchison's lyrical vision from their previous output. [Mar 2013, p.99]

The Flower Lane is a collection of hazy but beautifully constructed songs. [Mar 2013, p.98]

His picture would be that much more moving if he spliced his peaks with the occasional trough. [Mar 2013, p.98]

It obeys no single genre but it sounds like 20 years of London at night. [Mar 2013, p.98]

To truly get into the spirit, though, you'll need to have an attention span longer than his own. [Mar 2013, p.96]

Despite the skill, it's delivered like a well-to-do busker rather than with the requisite polish. [Mar 2013, p.96]

This mix proves his skill again. [Mar 2013, p.96]

The 23-year-old Nashville resident's keening voice can drag you in with either the acoustic intimacy of 22, which resembles the stark folk of Father John Misty, or the electrified rock of Ramona. [Mar 2013, p.95]

Almost every song is blasted with canyon-sized quantities of reverb. [Mar 2013, p.95]

Their former high-speed heedlessness has been supplanted with a new awareness of song structure, grown-up texture and non-red-zone pacing. [Mar 2013, p.94]

Everyone, while unsurprised that his vocals are unobtrusive and his lyrics unspectacular, will seek that greatness in the guitars. [Mar 2013, p.94]

Amok shows Yorke successfully synthesizing his obsessions into a compelling and complete universe. [Mar 2013, p.92]

Mind games worth playing. [Mar 2013, p.107]

There's always something clever going on over the rhythmic chug. [Mar 2013, p.102]

[The Mavericks'] sound refreshed, recharged and better than ever. [Feb 2013, p.106]

His lightly jazzed guitar shuffles pleasingly.... But when he attempts to bring the funk and steam up some windows on Until You're Satisfied, your toes will curl for all the wrong reasons. [Feb 2013, p.113]

It leaves less room for their more usual fluid melodies, though both Nails and Best Friends And Hospital Beds recapture their emotive sensibilities. [Feb 2013, p.104]