She excels when she stacks up layers of her ghostly choirgirl voice within a more lush framework. [Nov 2010, p.114]

It all makes for an engaging and frequently charming solo debut. [Nov 2010, p.114]

My Father Will Guide Me Up a Rope to the Sky isn't all cranium-crushing bleakness, just mostly. [Nov 2010, p.116]

Friedmans and Everdell have struck gold. [Oct 2010, p.108]

What we have here is a Killers record made without the Killers that sounds like The Killers and is almost as good as The Killers, but not quite. [Oct 2010, p.101]

Band Of Joy is a good place for him to stay a little longer. [Oct 2010, p.114]

This is perhaps their strongest yet, their angular sounds augmented by a succession of memorable hooks, any one of which could be the one to break them into the mainstream after 14 years. [Oct 2010, p.121]

It's what Spiritualized might sound like before Jason Pierce sprinkles his gospel fairy dust on them. [Oct 2010, p.104]

The rumble of My God's bigger Than Your God offers some respite, but can't save a disappointing return. [Oct 2010, p.121]

While on the secular likes of Randy Newman's Losing You she's never less than majestic, it's when celebrating her Lord that things really click. [Oct 2010, p.116]

Recorded at LA's Ocean Way studios, his 10th album sees his screwball pop vision go widescreen. [Oct 2010, p.112]

There's a focus here that would have your average Grateful Dead fan running screaming for the hills. And that in itself is a triumph. [Oct 2010, p.112]

Much more than a collection of second-hand shoegaze though, Sleep Forever is also endowed with a glam-rock swagger and a fondness for euphoric choruses that fans of Kasabian would do well to investigate. [Oct 2010, p.105]

What really matters here is texture, delivered in abundance as she plucks and picks her way around harps, guitars and all manner of acoustic backing, her celestial freak-folk voice bewitching the listener. [Oct 2010, p.103]

Where Grinderman 2 does possess unique ace is its skillfully employed shot of psychedelia. [Oct 2010, p.102]

Given the strength of their earlier work, Penny Sparkle is a big letdown. [Oct 2010, p.104]

Fans of Gonzalez's intimate solo bedroom folk may be taken aback by the kaleidoscopic bells and whistles of Fields, but the rest of us should be thankful the sales of those two previous releases have given Gonzalez andd his mates the freedom to indulge every whim. [Oct 2010, p.109]

Alongside an early double hit of the two best pop songs the band have written in a decade and a rabble rousing take on their own Sproston Green, the album sees Tim Burgess pay respect to lifelong influence Crass. [Sep 2010, p.118]

The duo have remained one of the few constants in UK dance music. [Oct 2010, p.120]

This Boys Noize-produced return is nothing if not perverse. [Oct 2010, p.108]

The Canadian synth-pop duo are still partying like it's 1984. [Nov. 2010, p. 106]

Underachieving alternative heroes finally come up with the goods. [Nov. 2010, p. 110]

A typically disorienting affair, Skik I Allt divides itself between pastoral, paisley-patterned '60s pop and, more troublingly, the toothless prog-rock of Hogdalstoppen and Blandband. [Oct 2010, p.107]

The resulting brew takes some getting used to, but there;s levitating force behind the rumbling Thunderdrums and Satt Nam's astral harmonics. [Oct 2010, p.112]

Uptempo grooves such as Bobcat Gold Wraith may be too workmanlike to build up much momentum, but there are some lovely moments here. [Jul 2010, p.128]

Ominous fourth album from the masters of emotional turbulence. [Oct. 2010, p. 118]

Swedish popstrel on fine form, midway through her trilogy. [Nov. 2010, p. 114]

Helmet have fleshed out their minimalist grinding with proper tunes, but the question remains: will anyone care these days? [Nov 2010, p.105]