Too many of Coxon's conceptual songs are crucified on the cross of his man-child voice, neither weird enough to beguile nor strong enough to hold your attention. [Jun 2009, p.124]

Occasionally it drifts a little too aimlessly, as if recorded under the dulling influence of Prozac, but when she gets it right, she can be entirely, weirdly riveting. [Jun 2009, p.131]

She might be too rude for mainstream fame, but the synthesis of blood and electricity is bracing, even if the title's far less funny than previous albums. [Jun 2009, p.130]

It remains to be seen whether this is a long-term diversion for Oberst. But if the Mystic Valley Band is just a brief stop, it's a hugely enjoyable one all the same. [Jun 2009, p.129]

Seriously good stuff. [Jun 20009, p.134]

This is a record so drenched in Vietnam War-era blues rock you can all but smell the patchouli and napalm, and though 'Why Must You Always Dress In Black' may be his most shameless Hendrix-rip-off to date, it is nevertheless a convincing one. [Jun 2009, p.124]

Things tail off towards the end--'Infidels Of The World Unite' is a clumsy stab at politics, but is so vague it might be about anything-but overall this is impressive enough. [Jun 2009, p.122]

It seems they've raised their game in hallucinogenic style. [Jun 2009, p.135]

Outside Love presents a collection of dramatic, heart-on-sleeve love songs. [Jun 2009, p.130]

Roadsinger is an improvement on his patchy 2006 comeback "An Other Cup." [Jun 2009, p.135]

Only the very dedicated need apply. [Jun 2009, p.119]

Grey Britain is at once more accessible than its chaotic predecessor, "Orchestra Of Wolves." but also harder hitting. [Jun 2009, p.122]

Tellingly, they're at their most beguiling when taking chances. [Jun 2009, p.134]

This still shows renewed ambition, broadening the cool, Eno-inspired palette of his previous work. [Jun 2009, p.124]

They're fine when doing the burbling, instrumental stuff, only to lose marks for a couple duff guest vocals and over-reliance on vocoders. [Jun 2010, p.132]

It's too easy to mistake them for any number of other bands--Editors, Maximo Park, The Futureheads all spring to mind--but if it's not original, it's still done weell. [Jun 2009, p.125]

On this debut LP they layer Britpop cheer with glam, funk, electro and Beach Boys harmonies, in a manner that's both tuneful and arch. [Jun 2009, p.123]

THe lush '60s pop arrangements are scuppered by overly introspective lyrics. [Mar 2009, p.93]

Together Through Life is not by any yardstick classic Dylan. Even so, it's hard to imagine there's an item in his catalogue that he adores more. [Jun 2009,p.116]

Its supulchral riffs, histrionic vocals and ludicrous lyrics are all comfortingly familiar. Something unexpected wouldn't have gone amiss, mind. [Jul 2009, p.117]

Gardot mixes jazz and R&B with elegant string arrangements and acoustic guitars to beguiling, small-hour effect. [Mar 2009, p.98]

Ambitious and heartfelt, Music For The People is the sound of a band caught between rock and a hard place. [May 2009, p.111]

His latest spin-off project sees Steele's musical wanderlust pay dividends. [Mar 2009, p.98]

Factor in some amiable but lightweight filler and Yes falls maddeningly short of its glittering promise--a glimpse of pop nirvana when it should be the whole thing. [Apr 2009, p.109]

Playfullly irreverent and magpie-like as ever, and stuffed with inspired pop weirdness and great titles. [May 2009, p.119]

It's hard not to feel disappointed by the sense that a band who have raised their game so many times have nowhere new to go. [May 2009, p.114]

Fizzing with energy and wearing its Pixies hat with pride, Touchdown is a blast of brain-scrambled indie rock that reaches its apogee, of sorts, on the irresisitibly dumb 'Hey, Hey.' [May 2009, p.119]

The results are hyperactive and punky. [Jun 2009, p.117]