At its best, Cadenza is a thoroughly captivating listen. [Jun 2011, p.114]

No help coming consequently offers a welcome contrast to murder-ballad reciting neo-folkers. [Jun 2011, p.116]

A soul-warming treat. [Jun 2011, p.116]

Bands aren't suppose to peak on their sixth album, but Okkervil Rover are more tortoise than hare and they've been building towards I Am Very Far since they convened back in 1998. [Jun 2011, p.118]

His debut solo LP nods more to the latter [Cracker rather than Camper Van Beethoven]. [Jun 2011, p.119]

The follow-up to 2009's Everything To Nothing crackles with energy. [Jun 2011, p.119]

A Thousand Heys plays so much like the product of a band wigging out in a garage you can almost smell the Castrol GTX. [Jun 2011, p.119]

An effortless marriage of modern dream-pop loops and classical 70s guitar lines, it entertains notions of Thin Lizzy and Steely Dan, while producer Chris Coady lends the whole a steadfastly modern feel. [Jun 2011, p.120]

It's hard work at times, but ultimately adventurous and rewarding. [Jun 2011, p.120]

Its 18 tracks somewhere between the ghostly dancefloor sway of Fever Ray and modern classical composition. [Jun 2011, p.120]

Compelling stuff. [Jun 2011, p.120]

Tasteful and muted, it's one for the connoisseur, not the casual fan. [Jun 2011, p.120]

They've mercifully scraped away some of the abrasiveness on their fifth record--even taking the drastic step of recording in a real studio. It's a move that skillfully exposes their inner charms while preserving their lo-fi cool. [Jun 2011, p.123]

The heart-breakingly poignant cello hum of Opening (White Material) typifies the rightness of the association; when you add Stuart Staples's beguiling baritone, it elevates to another level altogether. [Jun 2011, p.123]

The mood is a celebratory, the vibe relaxed and one-time socially conscious hip hopper Franti makes like he's the happiest guy on the planet. [Jun 2011, p.124]

Their 13th release, Lollipop, continues to rein in their wayward and abrasive tendencies for something more measured. [Jun 2011, p.124]

It's no radical departure, the Canadian chanteuse's sensual croon is still a class apart. [Jun 2011, p.124]

It's early days yet, but right now Twin Atlantic are doing nothing wrong and much that is right--their future looks bright indeed. [Jun 2011, p.124]

Director's Cut succeeds, however, by axing the star cameos and thrusting some of her most powerful songs back into the spotlight. [Jun 2011, p.115]

The band's power chorus-penning know-how is evident each of these slick and sometimes over-polished ten tracks. [Jun 2011, p.125]

Don't believe a word of it; this mediation on aging has moments as filthy as anything from his X-rated past. [Jun 2011, p.125]

A quietly accomplished record, just not the one people were expecting. [Jun 2011, p.125]

Mixed by Philippe Zdar of Cassius fame, the whole record feels bright, poppy and fresh. [Jun 2011, p.105]

Third album Fake history is a whirl of clattering hardcore, gymnastic screaming and raw-edged, blazing riffs. [Jun 2011, p.114]

While Molly O oozes foreboding, Meet Me In the Alleyway is eerily reminiscent of The The and the Grammy-nominated This City is a genuine gem. [Jun 2011, p.114]

For all the troubled lyrics, these songs pack punches. [Jun 2011, p.111]

Lyrically, they may not be Pulitzer Prize contenders and sometimes--well, a lot of the time--you yearn for a little more musical adventurism, but there's good work here. [Jun 2011, p.123]

Tempos ate slower, moods are darker, moments of infectious pop few and far between. [Jun 2011, p.119]