Wyatt continues to be full of delightful surprises. [Nov 2010, p.117]

Come Around Sundown is the sound of them trying to wrestle its relationship with fame back under control. On a musical level, they've succeeded--they've scaled back the ambition with out throwing the baby out with the bathwater. [Nov 2010, p.102]

He'll always be too mannered for mainstream acceptance, but there's unarguable brilliance here. [Nov 2010, p.105]

The 50-minute opus is an ambient masterclass. [Nov 2010, p.112]

Too Many Miracles, I Saw You Walk Away and This Electric come lovingly swaddled in strings and, if only for their duration, make the world a nicer place. [Nov 2010, p.105]

For this stunning first offering South London producer Derwin Panda connects organic harmonies of Noah Lennox's Panda Bear project with Four Tet's dizzying cut-ups. [Nov 2010, p.109]

It's warm and heartfelt, but the scaled down production allows his grating Treesside vocals dominate to distraction. [Nov 2010, p.114]

As ever, she's at her best when her guard is down. [Oct. 2010, p. 113]

Another smart and limber record. An astute choice of collaborators plays its part. [Oct 2010, p.116]

Clinic have performed a remarkable metamorphosis for the melodic, dreamlike Bubblegum. [Nov. 2010, p. 106]

The odd electronic twist sugars the pill, but it's mostly relentless if brutally effective stuff. [Nov 2010, p.105]

Lyrically, though, he's got strangely little of interest to say, no a particularly distinctive way of saying it. [Nov 2010, p.111]

The airier sound allows room for some soaring melodies, which find their ideal melodies, which find their ideal centrepiece in Michael Vidal's dolorous croon. [Oct 2010, p.103]

You could forgive the incoherence if every song punched its weight, but too often design-by-committee dilutes rather than enhances individual strengths, producing generic electro-pop filler. [Oct 2010, p.106]

Hornby and Folds would seem to be a good fit in the checkered history of author/musician collaborations. And so it proves, up to a point. [Oct 2010, p.107]

Slavishly retro, but done with infectious enthusiasm. [Oct 2010, p.112]

Exhilarating end-of-days from the US trio. [Oct. 2010, p. 113]

Tired Pony have given side-bands a good name. [Aug 2010, p.121]

Clapton sounds exactly like what it is: the work of a musically satisfied 65-year-old. [Nov. 2010, p. 106]

With singer Jim Adkin's genuinely inspiring vocals and thoughtful lyrics separating them from the herd, there's much more life here than might have been expected. [Nov. 2010, p. 111]

Deerhunter might be fascinated by the vanishing tricks people play, but Halcyon Digest is a thing of unmistakable substance. [Nov. 2010, p. 113]

Truly one of a kind. [Nov. 2010, p. 117]

This follow-up goes one further [than his 2006 debut], pushing Dawkins to the forefront of modern soul voices, his delivery suggesting a less showy John Legend. [Nov 2010, p.105]

This 11th album refines their sound and gives it a modern productive tweak. [Oct 2010, p.112]

You would not have predicted, however, he'd settle for an album of songs that sound like leftovers from the Dear Science sessions. [Sep 2010, p.116]

Solid, if a bit derivative. [Oct 2010, p.116]

The splicing of classical instrumentation with electronica and jazz flourishes may alienate his old band's fans, but there is much to admire here. [Oct 2010, p.120]

Still raging, not drowning, their flame burns unfashionably on. [Oct 2010, p.110]