The spare production on their second album is less indebted to the post-punk era. [July 2010, p. 129]

Abrasive and addictive, the duo have together discovered a chemistry that not only excites themselves, but almost anyone else who experiences it. [Aug 2010, p.122]

It's still a quietly engaguing offering blessed with a lyrical lightness and organic Tucker Martine production. [Jul 2010, p.135]

There is, too, much, that is pretty and whimsical, but less substantial. Another accomplished set, but the real Fyfe Dangerfield should stand up. [Mar 2010, p.98]

Led by the strident vocals of the younger Klara, it is, however, the strength and surprising maturity of the pair's songwriting that makes The Big Black And The Blue such an impressive first effort, not least on the gorgeous Ghost Town. [Feb 2010, p. 105]

Her debut skips frrom glam-disco and bubblegum punk, to quavering piano laments and cabaret ditties. All the while, her imaginative reach is complemented by a winning pop savviness. [Mar 2010, p.105]

Downtempo triumph from Seattle indie journeyman. [July 2010, p. 135]

Elson's theatrical but appealing voice adds genuine drama to the darkly brooding Stolen Roses, while the title track is a handsome murder ballad. [Jul 2010, p.133]

There are few voices in contemporary alt-country quite so adept at wresting consolation from the depths of despair as Hinson's sonorous baritone. [Jul 2010, p.133]

This is a fantastic record, one of the year's best, but perhaps one that suggests that Murphy has said what he needed to say. [Jun 2010, p.122]

Infinite Arms benefits from a mixture of expansive pondering--Factory, for example, coul easily become a staple of emotive TV dramas--and such lonely romance as Way Back Home, which twinkles like fireflies. [Jun 2010, p.129]

Fans will debate stand-outs but Brothers will shiver the spine of anyone in love with unsanitised rock'n'roll. [Jun 2010, p.128]

Though his voice remains vintage, his creative spirit has been rejuvenated. [Jul 2010, p.127]

Often sad yet always warmly sympathetic, it's a well-weighted, smartly observed collection of attractive pop. [Jun 2010, p.132]

Having been dumped by their label, and in turn voluntarily dumped this scheduled third record's first draft, Simon Franks and Tom Disdale have taken their time, entice Madness's Suggs and Mike Barson into cameos and emergwed altogether stronger. [May 2010, p.112]

Stick to the main text: until they invent time travel, there's no better way to inhale the decadent air of the early '70s. [Jun 210, p.137]

Reggae-rap soundclash fails to catch fire. [July 2010, p. 136]

I Got Your Number is a sexy, snarling glam rocker, Wonder recalls Smashing Pumpkins at their sunniest and Stuck In A Rut has the strut of prime-time Black Crowes. [Dec 2009, p. 110]

A delightfully different gang of fuzzy funk rapscallions. A solution worth soluting. [Jun 2010, p.118]

High Voilolet features 11 tracks; five are good, six extraordinary. [Jun 2010, p.116]

The eight tracks and 31 minutes of the Night Train EP/mini-album, recorded during the Pefect Symmetry tour, should sate the faithful. [Jun 2100, p.127]

Latin, their third album, turbo-charges post-punk, lolloping Karutrock and primitive electro.

Largely the results are first-rate. [Jun 2010, p.132]

It's a qualified success, he rocks harder here than he has done for years, but there's still plenty of fat left to trim from the bloated ballads. [May 2010, p.121]

The vibe remians woebegone but with the combination of lush arrangements and gallows wit add layers of transcendence previously only hinted at. [Jun 2010, p.131]

Thier fourth album is a step back in the right direction. [Jun 2010, p.120]

His fourth album finds him backed by a band for the first time, and collaborating with songwriters. The result sit somwhere between Buck 65 and Everlast, alebeit more erudite lyrically. [July 2010]

Sparky debut from trio in thrall to US post-hardcore. [July 2010, p. 135]