It's a sweet-natured and seemingly uncynical exercise which, while pretty enough, brings nothing new to these well-worn ditties. [Jan 2012, p.101]

The proof is in the music; it sounds juts great. [Jan 2012, p.98]

Never did the Pumpkins build more sonically gorgeous than this...For those that haven't plumbed the depths of the Pumpkins catalog, it's a fair brace. [Jan 2012, p.97]

Bob Ludwig's remaster job adds fine detail, and a second CD collects 18 tracks, mostly diverting. [Jan 2012, p.97]

The chronological sequencing, kicking off with the delightfully sloppy "Gardening At night" from the "Chronic Town" EP, charts a course from indie college jangle to pensive AOR, and tracks fro their latter days on the IRS label sparkle with eloquence and grandeur. [Jan 2012, p.96]

Even though the Neptunes have long gone off the boil, their contributions are so much better than those of the other assembled "star" producers. [Jan 2012, p.96]

Mailman offers an insider's glimpse into his beginnings--a spirited 1970s club set and a priceless disc of stripped-down, gloss-free demos. [Jan 2012, p.96]

If the second stash contains a suspicion that the best stuff got smoked first time around, the spirit and energy of the first record are still here in abundance. [Jan 2012, p.95]

Highlights include the waltzing "About As Helpful As You Can Be Without Being Any Help At All" and a breathless canter through the Broken Social Scene stylings of "Post-War Blues." [Jan 2012, p.93]

Severant works better than you'd think, and at its best it is breathtaking. [Jan 2012, p.90]

This release compiles non-album tracks, remixes and a couple of new tunes, but it feels like a perfectly focused set of retro-modernist dance. [Jan 2012, p.90]

It's Hit-and-miss but lots of fun, with real skill and joie de vivre behind the incessant experimentation. [Jan 2012, p.90]

A supremely sassy swansong. [Jan 2012, p.90]

Producer Ludwig Goransson imbues the beats with a comparable degree of pomp, although we could have done without diversions into cheesy Swede-pop. [Jan 2012 p.88]

If the Plastic Beach-era material gets a bit bogged down in the concept, it's not without its moments. [Jan 2012, p.86]

If rock is indeed dead, then albums like thus are its extended intelligent coda, its sustained afterburn. [Jan 2012, p.82]

Gleefully adulterated here with generous slugs of dubstep, dancehall, rock, R&B, baile funk and anything else that fits the fervent party mood. [Jan 2012, p.82]

Most of it so beautiful and effortless and easy, and no matter how much you want to look for ghoulish clues, it sounds like a great new record by someone spectacularly alive. [Jan 2012, p.83]

Brun's vocals can be spine-tinglingly gorgeous and annoyingly mannered, often in the same song. [Jan 2012, p.81]

The results are impressive. [Jan 2012, p.81]

Music For Confluence lacks imagination and dynamic, with gentle fuzz and weak violin failing to conjure any sort of atmosphere. [Jan 2012, p.81]

Last Day Of Summer is as good as anything White Denim have ever done. [Jan 2011, p.80]

Dreamy, classic-sounding pop nuggets, sung by Cox with a wry, casual authority. [Jan 2011, p.79]

El Camino feels like the dawn of greatness. [Jan 2012, p.76]

The retro flavours are only one strand of an alert, impressive collaboration. [Dec 2011, p.104]

The Rifles' standard formula is cliche-ridden but effective. [Dec 2011, p.95]

The synergy between electronics and organic instrumentation, sometimes an arid and baffling blend in improv, makes this a thrilling listen. [Dec 2011, p.87]