An intoxicating listen that's well worth experiencing for yourself. [Dec 2012, p.109]

Unfortunately, Iha's anemic vocals are as terminally starry-eyed as ever. [Dec 2012, p.107]

For a record that initially seems nothing more than a charming little reverie, it's difficult to shake off. [Dec 2012, p.102]

Impeccable taste and genuine love shines through like sunlight on grimy garage windows. [Dec 2012, p.99]

Another dicey sell for the moshers probably happier to indulge in the record's belligerent breakdowns and build-ups. [Dec 2012, p.109]

An excellent return. [Dec 2012, p.109]

It's a lush and elevating experience. [Dec 2012, p.109]

The Coup's sixth album recalls OutKast or The Roots at their boldest, and Riley's an engaging host. [Dec 2012, p.103]

It's more accessible than more tripped-out previous releases. [Dec 2012, p.110]

You're left with a decent retro rocker who's treading water when he should be kicking up dust. [Dec 2012, p.110]

The rest of King Animal struggles to match "Been Away Too Long" for musical flair or raw energy. [Dec 2012, p.113]

It has the messy, majestic sprawl of classic Crazy Horse. [Dec 2012, p.115]

In a half-hearted effort to dilute the homogeneity, Harris grouts 18 Months with flimsy instrumentals, as if to create the illusion of a proper album. He's not fooling anyone--maybe not even himself. [Dec 2012, p.108]

They run a schizophrenic gamut of cinematic moods that bleed into one another jammed together into one disorienting hour that reaches its end without any discernible narrative reward. [Dec 2012, p.104]

All you need to notice about Oui Oui... is that, together, these musicians can still rustle up a synergy no other band can imitate. [Dec 2012, p.102]

As a singer, Kylie still sounds about 15 and her voice sometimes struggles not to be engulfed by the swells of strings and legions of backing singers. Nevertheless, for the most part, this is quality stuff. [Dec 2012, p.101]

Eccentric as ever then, but there's no denying the continued originality of the sound. [Dec 2012, p.102]

Compared with the clever appropriations of others who share his historical interests Manual veers close to pastiche. [Dec 2012, p.101]

The musical equivalent of a new model car: predictable, solid, well crafted but a lot like the one before it. [Nov 2012, p.99]

Comparisons to Marling may linger, but The Staves should soar above them. [Nov 2012, p.105]

You'll fall for Peter Broderick's humour and ingenuity in the end. [Nov 2012, p.90]

While the mix of influences could produce self-indulgent noodling, songwriter Kevin Parker's ear for a tune keeps the songs focused. [Nov 2012, p.106]

Tracey Thorn dispatches these carefully chosen covers and four new tracks with realism and a lightness of touch. [Nov 2012, p.106]

[The album] is full of reductive, radio-friendly hard rock. [Nov 2012, p.86]

They already had the style, but with this bold step Elliott Brood now have the songs. [Nov 2012, p.95]

Imagine the grumpy Northern bastard child of BBC Radiophonic workshop wonk Delia Derbyshire and horror-proggers Goblin. [Nov 2012, p.94]

This collection of 12" releases from the last year is breathtakingly beautiful. [Nov 2012, p.98]

This debut album is free of the scowling raps that made grime such an abrasive prospect the first time round. [Nov 2012, p.104]