Without Pop The Glock's digitised vocals Hartley sounds like a karaoke version of '80s rapper Roxanne Shante. [Aug 2010, p.126]

"Being herself" has resulted in her blandest record yet: it drifts from nondescript disco-pop and cloying R&B to woefully ersatz glam stomp. [July 2010, p. 132]

As the title promises, it's not so much a departure as a significant advancement of a career-long mission. [July 2010, p. 130]

Sparkly fourth set from Zero 7's Australian singer. [July 2010, p. 139]

There's a sleek electronic sheen but also a welcome return to stripped-down songcraft. [Jun 2010, p.126]

The Five Ghosts deserves to chaperone them to greater things. [Sep 2010, p.121]

While this album carries more instrumental and emotional heft than its predecessor, something remains off-balance. [Jun 2010, p.130]

American Slang isn't a record to change the world. But if Brian Fallon is yet to take on the Springsteen mantle of seeing and articulating that world way beyond his own neighborhood, it will surely bringh im closer still to The Boss' heartland audience.

Robin Carlsson has transcended myriad label problems to transform herself into the most glamorous and most fascinating electro-pop diva. [July 2010, p. 139]

A bluesy, guitar-heavy record just like they used to make, then. What's not to llike? [Aug 2010, p.124]

As ever, the drawback is a surfeit of earnestness; some of the irreverent humour of their live shows qouln't go amiss. [Aug 2010, p.127]

It may be too late for the big breakthrough, but Harcourt has given himself a fighting chancce. [Jul 2010, p.133]

The Result is a monochrome masterclass where khol-eyed '60s pop and British Invasion riffs are given emotional depth. [Sept. 2010, p. 117]

Time Flies... is the memorial to the greatest rock'n'roll cartoon of them all, one which, re-formation dreams aside, ends here now. [Jul 2010, p.144]

A guest spot from scene legend Greg Hetson confirms Eyes And Nines as the real deal. [Jun 2010, p.120]

Shadows, their eighth album, piles the instrumental layers back on without sacrificing any of the Scots' traditional strengths. [July 2010, p. 140]

We get their most pastoral outing to date, piano ballads one minutes, laid-back Neil Young the next. [July 2010, p. 129]

This debut seems to tremble on the threshold between the past and the present, the known and unknown, O'Brien's voice and allusive lyrics displaying a mixture of vulnerability and dexterity. [July 2010, p. 137]

The follow-up repeats the trick, scattering dreamy pop between industrial soundscapes. [July 2010, p. 129]

They spent three weeks recording this eclectic set of covers ranging from The Moody Blues to Spoon, all delivered with the steel-trap tightness of a touring band. [Jun 2010, p.128]

His seventh album bristles with ambition, merging influences ranging from hair metal and Merseybeat. [Jul 2010, p.136]

Although the band makes a gleeful clatter on tracks such as "Collector," the record really shines when the live instrumentation takes a back seat. [Jul 2010, p.133]

When she stops bawling (on Colors), Potter reveals herself as an affecting vocalist who deserves better than the barroom. [Sept. 2010, p.118]

His second album Splazsh serves up tense techno without a hint of human warmth. [Jul 2010, p.140]

They have their moments, including the electro-rock riffs on Bambi, but elsewhere the lack of variety soon grates. [Sep 2010, p.121]

Few would guess it was about environmental apocalypse; indeed, you can listen to the whole album with out noticing very much at all. [Aug 2010, p.123]

On their amiably unvarnished debut, they're a bit punky, a little folky, even a bit rockabilly, but always refreshingly themselves. [May 2010, p.126]

With the exception of Bob Dylan, there isn't a single artist, living or dead, who has managed a record this audacious 30-plus-years into a career. Wake Up The Nation is that good. [May 2010, p.114]