Over six albums in nearly 20 years, Connecticut's Hatebreed have yet to deliver a record that sounds different from the last. [Feb 2013, p.107]

Alienation, restlessness and lovelorn angst abound here, and Veronica Falls have lost none of their knack for blithely morbid romance. [Feb 2013, p.113]

The tunes are excellent throughout, with strong echoes of Cannonball-era Breeders. [Feb 2013, p.106]

The main problem is that the wooly songs struggle to match the grandstanding conceit. [Feb 2013, p.101]

Refreshingly simple in its own small way. [Feb 2013, p.103]

Exorcism Of Envy not only has to be heard to be believed, it just has to be heard. [Feb 2013, p.111]

Sara Lucas's strident vocals are often incomprehensible, rarely alighting on a tune for long enough to become memorable. [Feb 2013, p.102]

Lyrically trying to hard, and musically under-achieving, it amounts to no more than a shonky indie take on something that, when the pairing is right, can be truly magical. [Feb 2013, p.105]

A dark, challenging album. [Feb 2013, p.107]

It occasionally delivers the eccentric, giant-chorused rock that made Faith No More so great. [Feb 2013, p.107]

While Acolyte sounded assured, Collections occasionally projects a sense of strain. [Feb 2013, p.103]

{Awayland} is not blessed with the stark folkloric purity of Becoming A Jackal. It still confirms, however, that O'Brien is a songwriter out of step, out of time, and when he hits his lyrical stride, out of this world. [Feb 2013, p.110]

Talk Normal have made an album that's by turns thrilling, frustrating and annoying, often within the same song. [Feb 2013, p.111]

Possibly the most polished album Adams has produced, Moves is bigger and grander than its DIY indie-rock sound may suggest. [Feb 2013, p.110]

He's made his most palatable LP yet. [Feb 2013, p.109]

Whether it's some twangy rockabilly or a thoroughbred country lament, their aim is always true. [Feb 2013, p.107]

Funneling psychedelic sounds through soulful gospel has long been a musical quest.... Matthew E. White's band have nailed the gig with their first experiment. [Feb 2013, p.106]

Though bereft of the drama and surprise with which a top production can transform a song into cap-R Record, her ninth album is a ton of fun. [Feb 2013, p.104]

Women & Work strikes a party-hearty country-soul vein. [Feb 2013, p.103]

The beats simply aren't up to snuff. [Feb 2013, p.103]

Witty, gritty punchlines abound, maintaining the energy level even on those tracks where the beats are somewhat routine. [Feb 2013, p.103]

This album [is] good fun. [Feb 2013, p.103]

It's a powerful record that reconfigures the classic mnid-90s New York sound more skillfully than anyone's done for some time. [Feb 2013, p.103]

While My Beautiful Dark Twisted Fantasy was anchored by Kanye's galactic ego, Big Boi often gets lost in the crowd. [Feb 2013, p.102]

It's folk, yes, but with a wickedness instead of a waistcoat. [Feb 2013, p.113]

Lady From Shanghai laughs in the face of chart pop, but the listener can't help cackling along. [Feb 2013, p.108]

It's best experienced with the lights out, although as with most film music, it loses some frisson separated from Strickland's lurid images. [Feb 2013, p.102]

For the most part, this is a pastoral, frequently beautiful folk record, spiked with the odd unexpected diversion. [Feb 2013, p.112]