Classy cross-pollination of techno and dubstep.[Nov. 2011, p. 136]

With Mariachi El Bronx II, the Mexican wing of The Bronx have moved swiftly to reinforce their authenticity. [Nov. 2011, p. 136]

Gonzales works with subsonic electronics, shoegazey ambiance and lush orchestration to create a wildly ambitious, often visionary record. [Nov. 2011, p. 136]

This is a thrash of real poise: precise, inventive and recklessly fast when necessary. [Nov. 2011, p. 135]

The Hunter represents them at both their most concise and their thrilling best. [Nov. 2011, p. 135]

A warm, spirited pop record that holds its own against everything else in their canon. [Nov. 2011, p. 134]

It's not that Audio, Video, Disco isn't on several occasions, a blast; it's that it's a blast from the past.[Nov. 2011, p. 132]

Bad As Me is as accessible as it is intelligent. At their heart, these are classic pop songs. That they're coated with his trademark wonder and weirdness makes them more special still. [Nov. 2011, p. 130]

It's heavy stuff, and there is a real rawness at the heart of standouts Where I Found You, Before The Bridge, Give Us The Wind and The Great Fire - all a little hard to swallow at first, but ultimately quite remarkable. [Nov. 2011, p. 128]

While the country-slanted Keeper doesn't stray far musically from what's gone before, the mood is more upbeat. [Nov. 2011, p. 128]

Long thought missing in action, it's good to report that his first album in more than a decade finds him in surprisingly rude health. [Nov. 2011, p. 128]

It's stunning stuff. The bar for the next Grizzly Bear album, already high after Veckatimist, is raised another notch. [Nov. 2011, p. 128]

Jessie, "The Devil" Hughes merges tub-thumping keyboards, '70s glam stomp and the sense that music making is a bit of a hoot on his solo debut. [Nov. 2011, p. 128]

This third full-length solo record is a rich blend of different genres that, despite its rampant eclecticism, never jars. [Nov. 2011, p. 128]

Big Troubles' flair for offsetting a gritty riff with a mesh of melodies is showcased throughout. [Nov. 2011, p.127]

There's a little more in the mix here [than in her solo debut album], dabs of lap steel on Babylon and elsewhere, gentle harp flourishes on Song For Next Summer, but this is barely less lovely than its predecessor. [Nov. 2011, p. 127]

Black Rainbows is the right album at the right moment. With its rich, layered sound and its hugely enjoyable preening, it is unashamedly Suede-esque. [Nov. 2011, p. 127]

Recalling Kate Bush and the enigmatic chamber music of Penguin Cafe and North Sea Radio Orchestras, the way is full of mystic visions, and the deathly conclusion is bittersweet. [Nov. 2011, p. 127]

The most powerful moments are frequently the most stripped-down, underlying the fact that Feist is surely one of the best singers working today. [Nov. 2011, p. 126]

Formerly one of the finest melodicists of his generation, this assured debut secures his position as one of our finest artists. [Nov. 2011, p. 124]

Music this uplifting, this inspirational, belongs among the stars. [Dec 2011, p.120]

Well-intentioned, no doubt, but it's a clunky, unconvincing listen where even the few musical highlights are far between. [Oct 2011, p.130]

The bombast is blunted by a lyrical clumsiness, but if you've stopped to analyse them, then you've already missed the point of The Subways' exuberant pep. [Oct 2011, p.130]

It's a mixed listen. [Oct 2011, p.128]

Another great find from Bella Union, there's not a weak moment on this engaging debut. [Oct 2011, p.124]

[Mangini's] speed is not in much evidence on A Dramatic Turn of Events, though, where prog-metal riffs give way far too easily to pianos and technical indulgence. [Oct 2011, p.120]

There's something ageless about these songs that make them art-school tasteful rather than genuinely unsettling. [Oct 2011, p.112]

Biophilia is a wonderful record in the most literal sense; it overflows with wonder. [Oct 2011, p.111]