Throw in an evocative, anthemically chanted lyrical snapshot, some cryptic tales and a blues rock cover and almost every successful Fall trick familiar from the last two decades is also deployed. All of which amounts to a vital late period masterpice. [June 2008, p.47]

The mixes (on the second disc) reinforce the strength and weaknesses of Pyramids, not only showcasing their craftmanship in the surface of sound, but also insinuating that there might not be much beyond these sculped surfaces. [July 2008, p.55]

Dig!!! Lazarus Dig!!! sees Cave at his wittiest and most relaxed, though perhaps also most detatched. [Apr 2008, p.53]

These guys mean well. [June 2008, p.63]

Despite the use of repetition and layering, Street Horrsing's sonic make-up is often unpredictable, which is where their strength stems from. [Apr 2008, p.57]

There's something very likable about this album....The problem with Too Old To Die Young is that it's too familiar to sound truly fresh. [May 2008, p.65]

There's being reflective and then there's navel-gazing, and unfortunately Alopecia is too frequently guilty of the latter to really engage either the mind or heart. [Apr 2008, p.66]

Rick Ross is pretty much incapable of going more than 30 seconds with out using the word boss--too bad, because Justice League turn out three monsterous cruisetime tracks toward the end. [June 2008, p.63]

With the Jicks now sharing the spotlight, sees Malkmus's familiar tangled lyricism and meandering tendencies offset by some tremendous group performances. [Mar 2008, p.57]

The closing 'Honey' leaves all the issues behind and drips with the kind of sultry retro-funk that proves New Amerykah to have been well worth any amount of waiting. [May 2008, p.70]

Their focused, cleverly crafted pop fiffs are impressive, for a time.... But by the fifth track, things start to go wrong. [Mar 2008, p.48]

These themes of anguish are not so much bleak as moving, for he always finds a way to inject his wry observations into the mix. [Feb 2008, p.54]

This album eclipses their previous output and hits a consistent note of righteous force. [Jan 2008, p.69]

The best cuts come courtesy of Chi-town's Soundtrakk, whose Native Tongues love knows no bound, while newcomers Chris & Drop provide notably solid beatwork for 'Gold Watch.' [Apr 2008, p.71]

While perhaps not the triumphant return that many fans have hoped for, the murky and dystopic excursions of 8 Diagrams are uncompromising, visionary and unique. [Mar 2008, p.62]

Parades succeeds in avoiding the most perilous pitfalls of simulated whimsy and fey affected vocals to achieve something gloriously endearing. [Nov 2007, p.53]

Effective, perhaps, as background music for adverts or TV vignettes... The second CD, Heim, is better. [Dec 2007, p.65]

Burial has transcended his dubstep origins, belonging to a Gothic tradition that takes in Massive Attack and even 4AD at their most grandiosely despondent. [Jan 2008, p.53]

15 tracks of raspingly dry boilerplate hiphop, whose moods and references are pretty much (all) the Americans ones you'd expect. [Nov 2007, p.51]

An excellent showcase of their different approaches. [Oct 2007, p.55]

Preparations is a tediously uneven listen that drags on despite its 31 minutes running time. [Oct 2007, p. 63]

There is still a sense here of a group magisterially marking time, shying away this time round from any grand, rhetorical, countercultural purpose. [Dec 2007, p.63]

Widow City is endlessly enjoyable, yielding new detail every time you slip through its song mazes. [Oct 2007, p.59]

A superb album, in which Wyatt gathers all of his strengths, with the personal and the political, the aesthetic and the ethical are brought together as only he can. [Nov 2007, p.64]

Harvey's new strategy has been successful although White Chalk might be something of a curio, it's certainly her most haunting work. [Oct 2007, p.60]

Only after wading through the swamp to the final three tracks do we get anything approaching sincerity, albeit of a cloying kind. [Oct 2007, p.55]

Boss, Magik Markers' most straightforward set of rock songs, is still rife with a liberating freedom. [Oct 2007, p.62]