Here's a band on top of the world, and on top of their game. [Oct 2012, p.98]

This is ultimately comfortable listening, befitting folk sounds of a resolutely un-freak variety. [Oct 2012, p.96]

Solidly enjoyable though Uno! is, they might have been wiser to mix things up fro the start. [Oct 2012, p.92]

Despite the familiar palette, it's brutally effective. [Oct 2012, p.94]

Melancholic, romantic and unashamedly emotional, his loss is our gain. [Oct 2012, p.103]

They strain to resemble the Stooges and mavericks from the Beasties to the Stones but still can't conjure the killer tune. [Oct 20012, p.103]

Their third album takes them into Foo Fighters' radio-friendly anthems territory. [Oct 2012, p.98]

Potent incantations such as Nissim and, particularly, the two tracks with Warp's sinister rapper Gonjasufi, prove this to be a wonderfully bananas breakthrough. [Oct 2012, p.100]

Oddly, for an album inspired by the blues, there's not much misery, and what vocals are there get looped and treated beyond storytelling. [Oct 2012, p.103]

Their 14th album sees them once again focusing on stripped down Nuggets-era garage rock. [Oct 2012, p.107]

Shields is part spiralling indie rock, part wistful '60s pop. [Oct 2012, p.102]

Too much of the material is lightweight, ultimately making this an exercised in what might have been. [Oct 2012, p.101]

For all its finite charms, though, Mirage Rock lacks the slinkiness of Infinite Arms. [Oct 2012, p.93]

17 years on, Liquid Swords represents hard-nosed hip-hop at its peak. [Oct 2012, p.117

You can't argue with the boldness of the move, but it's hard to know who really wants a sensible Sic Alps. [Oct 2012, p.110]

They should always say yes to excess. [Oct 2012, p.107]

Unfortunately the stamina isn't there and other tracks hold all the surprise of a Kate Hudson rom-com. [Oct 2012, p.95]

This one is stranger than most. [Oct 2012, p.117]

It's good in places, sporadically very good, but is no significant step up from their debut. [Oct 2012, p.113]

Into The Diamond Sun takes a fistful of seemingly incongruous influences and hammers them into something akin to pop music. [Oct 2012, p.111]

An IMAX band in an iPad age, it's there that they'll prosper. [Oct 2012, p.111]

Where once he dreamed of Fireflies, now Young just sounds burned out. [Oct 2012, p.108]

Though his band can meander, Harrison has proven himself his own man. [Oct 2-012, p.107]

Although his monotone becomes a little wearing over an entire album, this is still his best work in a long time. [Oct 2012, p.106]

While other rappers struggle to maintain consistency across one album per year, Big K.R.I.T. has made his second corker of 2012. [Oct 2012, p.106]

Gallows is less significant than its predecessor, but it often sounds more urgent. [Oct 2012, p.100]

These are genuinely moving, but a change in pace wouldn't have gone amiss. [Oct 2012, p.98]

Ambient meditations and busy electro picaresques like Glow Hole add variety to a record that doesn't exactly reinvent the wheel but at least paints it in bizarre colours. [Oct 3012, p.98]