He may not be the first to mix the bucolic with the mechanic, and God knows he won’t be the last, but here all the symptoms of overexposure sink under the unassuming grace of his gifts.

The Grey Album isn’t much more than a well-executed novelty, nor does it illuminate some genius hidden deep within The Black Album.

A warm, accessible listen, it’s hard to say anything too bad about Obrigado Saudade, which may be its biggest fault: it’s too clean, too comfortable.

Apropa’t’s biggest flaw could be the use of Eva Puyuelo Muns’ vocals. Perhaps I’m accustomed primarily to Herren’s music as instrumental, but the use of Eva feels painfully forced at times.

Given the genre-splicing we witnessed on 10,000 Hz Legend, Talkie Walkie sometimes seems like white-bread Air, like a fractured spin-off of Moon Safari.

I don’t see it as a release you can draw much from through repeated listening, but it’s a brave and powerful trip nonetheless.

Although clearly of more interest to rabid Cure nuts, Join the Dots is enough to bring joy (or, indeed, heartbreak) into anyone's life.

Cast of Thousands is a great record, beautiful and emotionally powerful as well as musically inventive... a refinement and extension of their vision that will emerge as one of the best records of the year.

The group's consistent artistic statement with little flexibility for change or innovation upon an already distinctive sound is their own greatest strength and enemy, leaving them unable to win over new listeners with a directional change.

Secret Wars feels like a keeper, like an album I’ll pull out and play and still love ten years from now.

The weak point of the disc... is the songwriting.... But if you’re in it for pure sonic pleasure, you’re in the right place.

A tremendous step forward, an emotional, melodic smorgasbord of pop bliss.

By capturing moments of ancient past, Gerrard and Cassidy have somehow created something timeless through set-in-stone permanence.

Pyramid is not Songs: Ohia but the musical equivalent of A Season In Hell, not something one can take in often, but which is beautiful for the fact that it was completed at all.

To completely dismiss Camera Obscura for their willingness to partake in this musical grand theft or K-Tel like attitude toward repackaging former eras of music would be unfair; free of the burden of meliorating an individual sound, they’ve been able to craft a consistently enjoyable collection of pop songs that inhabit the passion and style of the music they so clearly love.

Most of Boy in Da Corner's most compelling moments come from this uneasy interaction between irrational youth and ultra-rational mechanized society.

The relentlessness of the pillaging becomes one of the album’s virtues—each song wildly varies from the next, revealing thirty-five minutes of noise and pop that extends far beyond the surface into a slowly decaying singalong monster.

Serving as nothing more than a temporary diversion or side note to his fully realised work, this is worth a cursory listen for the insight alone.

There's "Karma" and "I Don't Know Your Name." You and your iPod know what to do.

Review 1: <A HREF="http://www.stylusmagazine.com/review.php?ID=1514" TARGET="_blank">She&#146;s done it again, and the fact that we&#146;re not surprised shows just how valuable and talented she is.</A> [Score=91] Review 2: <A HREF="http://www.stylusmagazine.com/review.php?ID=1515" TARGET="_blank">The new Missy album is terrific! Maybe even more terrific than her last one, and almost certainly better than the one before that.</A> [Score=84]

Surprisingly reminiscent of that other white-boy hip-hop circus freak [Beck], circa 1996&#146;s genre-mashing breakthrough Odelay.

Review 1: <A HREF="http://www.stylusmagazine.com/review.php?ID=1476&PHPSESSID=cae64c01fc4f0115d70d2aaefcf8ddcc" TARGET="_blank">It's as lost and macilent and alluring and eager to please and disturbingly empty-eyed as she is.</A> [Score=67] Review 2: <A HREF="http://www.stylusmagazine.com/review.php?ID=1477" TARGET="_blank">Ultimately, In the Zone suffers greatly from Britney's uneasy transition from teen tart to sexually powerful woman.</A> [Score=47]

Fanfare aside, even though the naked version is an improvement, Let It Be remains the Beatles&#146; worst album.

Review 1: <A HREF="http://www.stylusmagazine.com/review.php?ID=1468" TARGET="_blank">The Black Album&#146;s failings fall upon Jay-Z&#146;s shoulders as much as his producers.</A> [Score=64] Review 2: <A HREF="http://www.stylusmagazine.com/review.php?ID=1469" TARGET="_blank">The majority of the beats here are mediocre.</A> [Score=38]

The areas where Try This falls down are those where P!nk eschews the eclecticism of the stronger tracks and instead produces bog-standard pop-punk or R&B tracks.

At times its earnestness and self-conscious attempts to prove its own expertise make it seem more like the work of a surly, awkward late-adolescent.

The four new Magnetic Fields tracks, while good, add little more to Merritt&#146;s considerable repertoire than a few catchy melodies, with scarcely a clever line to boast.

When [Love is Hell] works, and it does so only sporadically, Adams creates songs of suffocating closeness and density.