The spread, encompassing piano and mellotron, is pretty; the songs rather maudlin. [Sep 2013, p.85]

The pair's Run The Jewels hits hard but has brains to spare. [Sep 2013, p.87]

Full of sound and furry. [Sep 2013, p.89]

Songs like "That Loneliness" can make Jagwar Ma sound a little clean-living, while the ingenuous "Let Her Go" simply bowls you over with sun-bleached pop-psych. [Sep 2013, p.90]

Jay-z attempts to balance his great wealth, tough history and news responsibility while retaining his grit. Magna Carta... generally pulls it off. [Sep 2013, p.90]

What's here feels a bit decaffeinated, downbeat Moby-ish electronica over which Lynch speaks or sings in a shaky blues croon. [Sep 2013, p.91]

Like a blurrier version of Tame Impala's Lonerism, each listen reveals further pleasures. [Sep 2013, p.91]

Uncanny Valley mostly just splashes around pleasantly in the easy-listening shallows. [Sep 2013, p.91]

Gentle pedal-steel weepies and shimmering, folk-rock beauty are testament to her new-found freedom. [Sep 2013, p.92]

Benjamin "Raffertie" Stefanski invents a kind of haute couture techno-soul on this classy debut. [Sep 2013, p.94]

Aside from the squelchy hypnotism of "In The Air," it's often a little aimless. [Sep 2013, p.94]

It's the darker numbers in which Jewel's muse gleams brightest. [Sep 2013, p.95]

There's much knowingness in his brazenness, and it's a mark of his talent that he stares hubris in the eye and nearly gets away with it. [Sep 2013, p.97]

The venom and rage of the Jim Jones live experience is captured more effectively on this third album than its predecessors, but there;s also greater depth to the playing and writing. [Nov 2012, p.76]

It's the album's deft balance between Sitek's freewheeling and darkly ambient aesthetic and the familiar sub-Beatles melodies that make BE a bold leap forward in the mould of Paul Weller's recent psych-inspired reinventions. [Jul 2013, p.71]

The results are so convincing, the only question is what took him so long. [Mar 2013, p.73]

[Blixa Bargeld is] in a whimsical mood, Mae West-flirtatious on "Come Up And See Me" and the booming "I'm smiling/From the bottom of my fair-trade soul" on the title track. Meanwhile, a delicate cover of The Tiger Lillies' "Alone With the Moon" is dispatched with a rich sonority. [Aug 2013, p.77]

She fails to stand out in a crowded marketplace. [Feb 2013, p.79]

Midwesterner Pokey LaFarge infuses would-be moribund styles with rare vigour, though lyrical concerns are anything but nostalgia. [Jul 2013, p.77]

The Inheritors is a fiercely original feast of experimental sound. [Jul 2013, p.76]

This pairing with the UK Soothsayers collective proves an easy fit, framing Campbell's precise, melodic vocals with intricate horn-led arrangements and adding judicious dub effects. [Aug 2013, p.69]

Almost every one is a pure and lovely miniature. [Aug 2013, p.69]

Immersive and claustrophobic, Ruby Red seems designed for solitary listening under headphones. [Aug 2013, p.72]

This is Clark, now in his 72nd year, as the rumpled poet of American folk-blues, imparting these semi-brisk, string-driven tales with his own unique brand of sad, funny, dry wisdom.

Tiden follows much the same formula [as 2011's Stunden] of Satie-esque piano sketches nestled in softly lapping rhythms, muted electro shadings and vaguely lysergic drones.

The sixth LP covers a familiar spectrum from table-thumping anthems to torrid speed-polkas and booze-punk shanties. But it also features agreeably surreal humour and occasional tender interludes. [Aug 2013, p.71]

He combines a fondness for Lou Reed-style New York street theater with anti-folk and '80s out-of-tune jangle to scintillating effect. [Aug 2013, p.76]

About Farewell is a gentle, rueful, often beautiful record. [Aug 2013, p.75]