They're marching to a '90s beat, like the internet never happened and fresh tools were never invented. [Jul 2011, p.77]

The Antlers, fronted by the sepulcral warble of Peter Silberman, manage to distinguish themselves slightly from these shuffling, mournful legions by bringing to bear a gently epic sensibility that verges on the orchestral. [Jul 2011, p.77]

Despite Wolf's best efforts, he's not built for homely pleasures--and you sense his need for drama straining at the leash. [Jun 2011, p.103]

Two albums on and they're still assembling a uniquely imaginative mythology. [Jul 2011, p.82]

D is a technical tour de force. [Jul 2011, p.89]

Despite several terrific individual tracks, this record ultimately derives its considerable strength from a renewed appreciation of the power of collective identity. [Jul 2011, p.90]

There are moments where the weirdly wonderful pagan pixie princess pokes through. [Jul 2011, p.90]

Nashville is clearly a home away from home, though, as this set from September 2008 proves. [Jul 2011, p.92]

Her aching voice is more lived in than her years suggest. [Jul 2011, p.92]

Pants gas ditched electro-funk in favour of the kind of woozy, nu-gazing reveries crafted by Beach House, Girls and teenage Fantasy. Not that it's all whacked-pout bliss-pop. [Jul 2011, p.93]

A prophetically titled record that does exactly what it promises. [Jul 2011, p.94]

Their fourth album amps up the synths-and-beats side of their new wave Scandi-rock aesthetic, with broadly positive results. [Jul 2011, p.94]

Truly terrific. [Jul 2011, p.96]

His fine fourth album sees him thicken his sound a little, layering jazzy brass and full-blooded surf-rock twangs over austere acoustic foundations. [Jul 2011, p.96]

He appears, so far as it's possible to tell, a competent ukulelist, and his parched baritone remains effective--but this doesn't to understate matters wildly, seems quite the best use of his skills. [Jul 2011, p.96]

Some of the more routine synth-pop cuts lack weight, but the distant echoes of A-Ha's "The Living Daylights" buried within "Musketeer" are wholly endearing. [Jul 2011, p.103]

The multi-ethnic Jessica 6 blend disco, soul, house and melodramatic ballads with both skill and affection. [Jul 2011, p.87]

This injection-moulded pastiche isn't exactly bad, but feels totally pointless. [Jul 2011, p.86]

The 23-track set--material oft-mired in legal entanglements--which range from hit for others, to darkly melodic deep catalogue gems. Diamond himself provides highly entertaining liner notes. [Jul 2011, p.82]

Anyone seeking the funky militancy of The Beatnigs or The Disposable Heroes Of Hiphoprisy may be baffled. [Jul 2011, p.82]

Fully realised in its ambition, Bon Iver possesses all the austere beauty and understated emotiveness of its predecessor. [Jul 2011, p.81]

The Donkeys' debut album was impressive enough, but there;s even more to admire in this fine follow-up. [Jul 2011, p.80]

Unique, captivating stuff. [Jul 2011, p.80]

Feeling more airbrushed than lo-fi. [Jul 2011, p.79]

The departure of vocalist Tyondai Braxton appears to have knocked them off stride a little, but they are certainly an ensemble group, and a raft of guests keep things frisky. [Jul 2011, p.77]

There are still touches of the Streolab/Broadcast school of archaic electronics, but Alpers' melodies are now fuller and richer, and texturally Bachelorette brims with contrast. [Jul 2011, p.77]

It's a record that goes a long way toward breathing new life into the busted flush of English indie with a romantic Britpop sound that stands comparisons with The Smiths, The La's and New Order. But in order to complete that leap--and make a record that equals the impact of their first--the lead guitarist needs to give the songwriter a good, hard kick up the arse. [Jul 2011, p.78]

Dengue Fever come on like an art-trash cross between Talking Heads and X, with a crucial side order of B-52's. Their irreverent pop clinches the deal on "Cement Slippers." [Jun 2011, p.80]