Their fifth long-player finds them back at their corrosive best. [Apr 2011, p.102]

At 21 minutes at least it doesn't outstay its welcome. [Apr 2011, p.102]

As ever, the gravel-voiced Lightburn sounds as if singing for his life rather than his supper yet, without sacrificing that epic feel that always set this band apart, he's broadening his horizons. [Apr 2011, p.101]

Take Me Over makes a misplaced attempt at funk, which grates slightly, but it's hard to dislike the well tuned synths and dreamy choruses of tracks such as Hanging Onto Every Heartbeat. [Apr 2011, p.101]

Wounded Rhymes is the moment Lykke Liu has edged ahead of the pack. And she still understands the value of a mighty percussive wallop. [Apr 2011, p.100]

The real revelation is Kaur herself, a wonderfully gifted singer whose shimmering vocals prove every bit as effervescent as her name. [Apr 2011, p.98]

Matt Shultz makes a natural showman firmly in the mouth Perry Farrell mould. Front of house taken care of, it's then just a matter of pairing the noise and excitement, something they achieve in short, sharp bursts with room to spare. [Apr 2011, p.98]

The Ballad of The Kingsmen is just about the best distillation of free speech and the delusion of democracy ever recorded, while Mushroom Story will have you laughing and crying. [Apr 2011, p.98]

Unfortunately, Collapse Into Now is not nearly as consistent, vital or accomplished as either Out Of Time or Automatic For The People. [Apr 2011, p.94]

Angles fits 10 songs into a brisk 34 minutes and doesn't waste time gunning for gravitas. [Apr 2011, p.92]

it ens up a tie between waffling self-indulgence and occasional moments of inspiration. Definitely not predictable, though. [Apr 2011, p.110]

There is plenty here to treasure here. [Apr 2011, p.111]

She establishes herself as the freshest voice on the dancefloor. [Apr 2011, p.109]

It all makes for a strangely seamless collection, with enough moments of brilliance to excuse the lack of progression. [Apr 2011, p.114]

It's DIY-spirited, non-conformist and humourous, making this punk-war veteran's return a flavoursome treat. [Apr 2011, p.109]

The Sisters' eponymous first release throws up the unlikely comparison of John Lennon fronting The Flaming Lips, only to result in something that's too unfocused and self-indulgent to be more than a passing curiosity. [Mar 2011, p.116]

This debut proves equally effervescent. [Apr 2011, p.109]

The newly remastered version is also bolstered by three additional track as reclaimed from the vaults. [Apr 2011, p.114]

Ambitious and crackling with smart riffs, the end result achieves a brooding intensity all of its own. [Apr 2011, p.111]

The absence of a monstrous lead track, though, suggests the appeal will remain selective. [Apr 2011, p.110]

While Oakey's lyrics still have a near-surreal banality, with Privilege surely the most bizarre song yet to tackle the credit crunch, the two-finger riffs of Sky and Get Together are as addictive as ever. [Apr 2011, p.104]

Though the symphonic funk samples that power his free-flowing wordplay sound as if they could do with an upgrade. [Apr 2011, p.95]

Though consistently strong, in the absence of dancers or plot it's hard to make sense of this subtle album's jolting transitions between subtle mood pieces and bombastic orchestral techno. [Apr 2011, p.106]

Their sound brilliantly pays homage equally to the sparkling melodies of C86 and the lunk-headed bounce of punk rock. [Apr 2011, p.110]

The result is a more direct sound. [Apr 2011, p.106]

Here, melody and charmingly lo-fi electronics vie for attention next to moshpit riffing. [Apr 2011, p.106]

He and his demons haven't come in from the cold just yet, but thankfully, Pearson's muse has caught fire once more. [Apr 2011, p.105]

But for all their obvious influences, they're as youthfully exuberant as MGMT and surely no band has used echo quite so deftly since interesting-period Jesus ANd Mary Chain. [Apr 2011, p.104]