As confusing or thought-provoking as ever, depending on how far you want to walk down Costello's mazy career path. [Jul 2009, p.118]

This record will quicken the pulse of no one, but then chin-stroking does require a certain musical mellowness. [Jul 2009, p.127]

The result is an impressive but super slick collection of post-hardcore floor-fillers that's increasingly more "post" than "hardcore." [Jul 2009, p.117]

Vol. 1 is long on quality, variety and versatility, whatever format you choose. [Aug 2009, p.114]

Certainly the reverb/echo-drenched deconstructions of 'No You Girls' and 'Ulysses' pack a punch, but elsewhere it feels merely like an exercise in bolstering beats, amping basslines, then adding some beeps and FX. Pointless, really. [Jul 2009, p.122]

By growing a personality, he's conjured up a low-key gem and a minor revelation. [Jul 2009, p.119]

It's exhausting but charming. [Aug 2009, p.104]

It's a beautiful piece of work. [June 2009]

It may be oversimplifying to invoke the spirit of Radiohead, but this could be Phoenix's "Ok Computer" and "Kid A" rolled into one. [Jun 2009, p.130]

Manson the man at least seems re-energised here....The same cannot always be said for his band; their limp glam metal consistently threatens to undermine the performance. [Jul 2009, p.127]

Eating Us has a more cohesive sound than its lo-fi predecessor, but still radioates weird and wonderful vibrations. [Jul 2009, p.117]

There's no doubting her sonic ambitions, the glowing multitracked vocals and eclectic instrumentation here resembling a kind of lo-fi, one-woman version of Animal Collective. [Jun 2009, p.117]

Sounds like everyone has a ball. [Jun 2009, p.117]

Angular and unpredictable, their intricate interplay makes for enthralling listening. [Aug 2009, p.107]

What she lacks in lyrical maturity, she makes up for in heartful conviction, channelled through a voice that's by turns sweet, savage and gut-wrenchingly vulnerable. [Apr 2009, p.110]

Building a forthright sound on upfront drums, piano and Stephen Patterson's angsty vocals, tracks including Burundi-drumming lead single Percussion gun and the suspenseful groover Right Where They Left are a winning balance of art-indie mope and pop energy. [Feb 2010, p. 113]

At times--'Little Secrets,' despite its kiddie choir, 'The Reeling' and 'Moth's Wings'--it's a little too cloneishly Jake Shears for comfort. At other, though, they soar with MGMT-esque widescreen vitality. [Jun 2009, p.130]

Abnormally Attracted To Sin is a long haul, but among these 18 songs ate some of the best Amos has written. [Jun 2009, p.123]

The home recordings, however, insist this is probably for fans only. [Jul 2009, p.138]

It's all overly familiar in the most reassuring way. [Jun 2009, p.125]

It's a flinty rock record that lets Cocker's inner guitar beast out. [Jun 2009, p.118]

A unique, if impenetrable artists, Vanderslice deserves a wider audience. [Jun 2009, p.132]

There's an intimacy to these songs that makes it feel like you're intruding on some private sorrow, but there's no denying their ability to sustain a mood. [Jun 2009, p.117]

'La Llama' and Carajillo's clinking percussion, two moments of clarity on an album strong on atmosphere but sometimes short on focus. [Jul 2009, p.131]

They veer with a refreshing lack of caution from toytown techno and smart-alec wordplay t the squeaky space-hopper electro of 'Discover Your Colors.' [Aug 2009, p.104]

This impressive follow-up finds him lacing hard-edged techno beats with quirky shifts on tone and texture. [Jun 2009, p.121]

Bold, ambitious and revelling in the chaos of the age, 21st Century Breakdown is another perfect document of our times. [Jun 2009, p.114]

Earle believes this is one of his best albums; he's not wrong. [Jun 2009, p.132]