Album number eight from Zakk Wylde sees him cranking up the macho guitar heroics to superhuman levels. [Oct. 2010, p. 103]

Kaleide proves a little formula tweaking goes a long way. [Sep 2010, p.120]

The result is a mighty leap forwards. [Jun 2010, p.128]

They may well have delivered their masterpiece. [Sept. 2010, p. 110]

Autolux balance droney post-rock and electronics with rare skill. [Sept. 2010, p. 113]

This instrumental mixtape isn't Jaime Meline's best work, but there's no denying the manic intensity as Meline's machine-gun edits cut together old-school electro and spooked Hammond grooves. [Sept. 2010, p. 117]

Despite this concession to orthodoxy [recording in a real music studio], King Of The Beach retains much of his summery charm, the sun-kissed pop-punk choruses concealing lyrics seething with self-loathing, alongside slices of blissed-out pop in style of labelmates Beach House. [Sep 2010, p.123]

Hunting My Dress rejoices in an off-the-cuff dreamlike sensuality, pitching and rolling in all sorts of pleasingly unexpected directions. [Dec 2009, p. 115]

There's nothing here for Jones to be ashamed of. [Sept. 2010, p. 115]

Bontempi organ drum tracks merge together to create a hypnotic funk. [Sept. 2010, p. 118]

They seem ground down by arguments. [Oct 2010, p.111]

Without scaling any great heights, it's a sweetly engaging mix of lo-fi indie-rock and '60s girl group innocence. [Sep 2010, p.122]

The Magic Numbers' central problem remains: too few hooks back up the pretty tunes, and The Runaway becomes an album you want to love, but struggle to recall even as it glides on by. [Jul 2010, p.135]

I Am Arrows finds Burrows ploughing a fuzzy acoustic furrow to delight fans of summery '70s pop. [Aug 2010, p.120]

Their densely textured song structures and layered song harmonies reward repeated listening. [Sep 2010, p.120]

She makes the most with what she's got, along with a decent strike rate for pulling radio-friendly hooks out of the hat. [Sep 2010, p.122]

For all the celebrity firepower, however, Dark Night Of The Soul never quite adds up to more than a handful of great moments. [Aug 2009, p.111]

Who could of predicted, then, that Intriguer would be his best work in nearly two decades? [Aug 2010, p.116]

While Maya certainly shows no diminution of sheer sonic ingenuity, it suffers from a shrinking of the spirit. [Aug 2010, p.112]

Serotonin finds them back in more familiar territory, delivering screwball pop gems under the guidance of veteran knob twiddler Chris Thomas. [Aug 2010, p.123]

It's an addictive dream-pop blueprint, yet it's only when the percussion powers down, as on closer "The Wait," that the band hit the ethereal heights they're shooting for. [Aug 2010, p.125]

Hence the London outfit's second album is an all-acoustic, bucolic affair. [Aug 2010, p.116]

The intimacy of John Bramwell's writing is carefully preserved and the trio's abundant charm still lies in a simple melodic grace and spiky romanticisms of lines. [Aug 2010, p.120]

Nu-metallers try to recapture former glories. Fail.

The North Carolina quartet's banjo lopes alongside their classy Americana tunes. [Oct 2010, p.104]

Once cosmic scallies dazzled by pop's sepia-tinted past, Butterfly House is proof that The Coral;s psychedelic pop is now just as beautiful. [Aug 2010, p.118]

The rest lumbers by in a blur of anaemic vocals and dull soundscapes. [Aug 2010, p.117]

This lean, adrenal debut fors one better, blurring the boundaries between dance and rock with a flair not seen since Hooky and co plugged in their keyboards in the early '80s. [Feb 2010, p.113]