It's an album that sounds somehow both old and new, resembling Bibio and Yeasayer rewriting Brian Wilson's back catalogue. [Aug. 2011, p. 123]

American producer conjures up dazzling electronics. [Aug. 2011, p. 123]

Georgia electro-popper emerges as the first star of "chillwave". [Aug. 2011, p. 122]

Canadian electro duo's dreamy fourth album. [Aug. 2011, p. 120]

Throbbing synth-pop from husband-and-wife duo. [Aug. 2011, p. 120]

Parting the Sea Between Brightness and Me is fuelled by issues addressed in Jeremy Bolm's furiously screamed, raw and sometimes, frustratingly po-faced vocals. [Aug. 2011, p. 119]

Pressure And Time is a powerful, soulful affair full of strut and swagger. [Aug. 2011, p. 119]

The album's late lurch into electro and stadium rock is plain bizarre. [Aug. 2011, p. 119]

Second album is polished, though its anthemic pop-metalcore suffers from thinking its better than it is. [Aug. 2011, p. 119]

LA-based trio unveil their schizo-pop blend. [Aug. 2011, p. 119]

Fearless strides forth from Neil's number one son. [Aug. 2011, p. 119]

As a whole, The Harrow and the Harvest maintains a singular mood and sense of atmosphere -- its terrain, musically and emotionally, is stark and bleak but beautiful. [Aug. 2011, p. 118]

Swedish electro-pop hipsters take understatement to a new high. [Aug. 2011, p. 117]

Unsurprisingly, their music proves equally mysterious, the lava-like bass and shuddering beats suggesting a familiarity with dubstep's experimental margins. [Aug. 2011, p. 116]

Born This Way feels like the first proper Lady Gaga album. [Aug. 2011, p. 114]

A pleasing indulgence, then, rather than a necessity. [Jun 2011, p.117]

They've mastered sounding unhurried but supertight. [August 2011, p. 113]

Safe to say, it's one reassuringly cosmic listening experience. [August 2011, p. 113]

Melodies take shape and dissolve, musical reference points blend unexpectedly but the effect, though disorientating, is always accessible. [Jun 2011, p.110]

It's this kind of unresolved contradiction -- not to mention the flashes of self-deprecating wit -- that makes this return from the brink so fascinating. [August 2011, p. 112]

This 23-track collection of his formative spell with the New York-based Bang label makes a welcome reminder what a top pop tunesmith Neil Diamond was in his younger, Brill Building days. [Jul 2011, p.126]

An album made for judicious online cherry-picking. [Jul 2011, p.126]

Weighty stuff, but tungsten-strength tunes, a lush orchestral feel and Friday's laconic delivery make for a winning combination. [Jun 2011, p.114]

There are meandering moments on Skying--closer Oceans Burning's day-trip into prog palls after a while--but it continues The Horrors' fast-forward evolution from their dark larval form into lepidopterist's delight. [Aug 2011, p.110]

When it's muscular, it can be very good, but too frequently it veers off into more confused, mystical or plain boring territory. [Jul 2011, p.114]

They do succumb to indulgence--most pointedly on bloated eight-minuter Deep Water--but if you're prepared to allow them, they're just about worth it. [Jul 2011, p.116]

Perfect Darkness further reinforces his reputation as the closest there is to a latter-day John Martyn. [Jul 2011, p.102]

Aside from the Flying Lotus-produced curio tucked away at the end, there's little sign here he's willing to attempt a new role. [Jul 2011, p.111]