Pratt has one of those voices, like Josephine Foster, that remain stubbornly, elusively ageless. [Feb 2013, p.78]

At its best, JBM's follow-up transcends it's self-imposed cliches. [Jul 2013, p.77]

Rickety in construction, it holds up as a work of single-minded, lunatic conviction. [Aug 2013, p.61]

Amid the murk, there are still magnetic, rough-hewn fight songs about heartache and ambition. [Aug 2013, p.69]

Body Music has the feel of an album rushed out for the summer. [Aug 2013, p.67]

Pretty, poignant and educational, too. [Aug 2013, p.71]

It's compact, often menacing strangeness has its own beauty. [Aug 2013, p.71]

A move into electric guitar, Hammond organ and bass bring mixed results. [Aug 2013, p.79]

They display an exuberant charm that's trashy and infectious. [Aug 2013, p.77]

It is a wispy thing, not always easy to grip. But its more soulful moments can be quietly transcendent. [Aug 2013, p.74]

It's fascinating territory and Merchandise sound like a band still exploring thier huge potential. [Aug 2013, p.73]

Kill The Wolf is another ruralist fantasy furnished with tales of witchcraft and maypoles. [Aug 2013, p.67]

This is full-bodied, tuneful and surprisingly friendly, with vocalist Kuperus toning down the swivel-eyed hysteria for some Siouxsie-styled elegance. [Aug 2013, p.65]

West and his Congo crew hook up with On-U Sound's Adrian Sherwood for a familiar set that marries reggae spirituals to the fortified jungle of the soundsystem. [Aug 2013, p.69]

Subtle electronics and the creation of desolate, 3-D spaces is the icing on a seductively ruined cake. [Aug 2013, p.76]

Most of these frothy confections would sit just as well on any of the band's previous 11 long players. [Aug 2013, p.67]

Their seventh studio album removes some of the widescreen electronica and replaces it with a more, stripped back, acoustic vibe that rather suits them. [Aug 2013, p.67]

The effervescent punk-pop of The Breeders is a touchstone, as is Kimya Dawson's ramshakle honesty, but "Lips And Limbs" affects a subtle country twang, while on the terrific "Blue Pt. II," skeletal acoustic acoustics and frank lyrics document a stagnating love affair. [Aug 2013, p.79]

Their habit of singing in close harmony can be pretty but leaves little room for interesting vocal interplay. [Aug 2013, p.68]

The fatalistic and darkening Gothic moods bring out some of the shiniest elements of his prodigious talent and imagination. [Aug 2013, p.67]

Desperation is as refreshing as it is welcome. [Aug 2013, p.73]

While the ideas are sometimes thin, the delivery is invariably wry and charming. [Aug 2013, p.77]

The rhythm tracks are built up from finger bells and clicking wooden percussion, while each track is overlaid with wisps of koto or zither, which shimmer appealingly over the top, adding a touch of global gravitas. [Aug 2013, p.71]

Partygoing contains a handful of vintage Merritt moments. [Aug 2013, p.71]

It is raw, retro nouveau, deep house bangers like "When A Fire Starts To Burn" and "Stimulation" that make this a perfect Brit companion piece to Daft Punk's recent rebootings of disco history. [Aug 2013, p.69]

In common with a lot of records called Fantasy, this is ultimately a pretty pedestrian affair. [Aug 2013, p.72]

Traditionally, country music and club-derived electronics make for awkward bedfellows, but it's a testament to the strength of Gibson's strange vision that Me Moan might well become a touchstone of modern-day Americana. [Aug 2013, p.66]

It's seductive enough, but rather short on bravery. [Aug 2013, p.72]