The Glasgow guitarist's follow-up is more singular, placing Hubbert's spidery flamenco-influenced instrumentals alongside some less compelling vocal outings. [Oct 2013, p.70]

Inarticulate, perhaps, but indubitably exciting. [Oct 2013, p.72]

[Moby] draws on a long list of collaborators to bring character and depth to his distinct brand of ambient techno, with frequently haunting results. [Oct 2013, p.71]

This third album sees him turn to songwriting for the first time as he channels his inner Lou Reed for a freewheeling take on New York art-rock. [Oct 2013, p.83]

Scattergood's voice may be an acquired taste, but she works it skillfully. [Jul 2013, p.80]

Until The Colours Run casts a spell which lingers. [Oct 2013, p.71]

Take Me To The Land Of Hell is one of Yoko Ono's strongest efforts. [Oct 2013, p.72]

She's made a hugely satisfying album of slinky electronic soul. [Oct 2013, p.71]

A magnificent comeback. [Oct 2013, p.57]

His latest is no less a mixed bag. [Oct 2013, p.75]

Their first album in almost two decades, David Roback and Hope Sandoval are on stunning form. [Oct 2013, p.71]

Kings of Leon zeroed in on their gifts for visceral rock grooves and soaring hooks--lifting standout tracks on their sixth album to a Springsteen-like level of gritty grandeur. [Oct 2013, p.70]

The band's amiable punk-folk chunter lacks a little of its usual charm. [Oct 2013, p.74]

A genuine emotional affinity underpins the marriage between Lanegan's lupine growl and 12 melodramatic songs of masculine despair. [Oct 2013, p.70]

It's an impressively strong set of songs, diverse in both lyrical themes and musical styles, and delivered with a confident range of drama and empathy by a "heritage" act resolutely refusing to rest on his laurels. [Oct 2013, p.66]

While their pristine sound lacks grit, in lyrical terms the troubled "Lies" and "The Mother We Share" show the Chvrches are blessed with hidden depths. [Oct 2013, p.64]

Half of this curious but at times compelling collaboration set lyrics from old songs to new tracks--though not always to their benefit. [Oct 2013, p.62]

A downbeat and occasionally poetic work with some unexpected reference points. [Oct 2013, p.71]

Dream River [is] among Callahan's very best. [Oct 2013, p.63]

The pair unleash a succession of hallucinatory soundscapes that feel hermetically sealed yet confrontational, as if daring us to fire up a fat blunt and allow this sleek beast to burrow into our frontal lobes. [Oct 2013, p.71]

Much of the album mediates on Torrini's new status as a mother but does so through some intensely poetic lyrics. [Oct 2013, p.75]

Her songs don't so much drift as press steadfastly onwards into the unknown--all of them stick in your head despite little trace of a tune. [Oct 2013, p.63]

Some of their most startling material has always been found down the back of the sofa, among such relatively unconsidered trifles as "In The Back Of My Mind" and "Angel Come Home." [Oct 2013, p.82]

Summer Camp are no longer a memory of a pop band, but the real thing. [Oct 2013, p.75]

The result is both an ambitious concept album and a glorious booty-shaker. [Oct 2013, p.68]

A vision of some shadowy Arcadia, its minimal Timbaland beats and lurking Mezzanine-style bass presented with mud and moss under the nails. [Oct 2013, p.67]

A promising debut.... But across a full album the monotony that fuels their material threatens to snuff out any sparks. [Oct 2013, p.65]

Intense, relentless and spellbinding. [Oct 2013, p.65]