The execution is consistently weak. [Aug 2013, p.79]

At times, it's like an architectural drawing. But the repetitions soothe and tease, and then you start to hear the leaves. [Aug 2013, p.78]

One True Vine is a seamless sequel. [Aug 2013, p.70]

Aguayo always has heaps of ideas, some of which work brilliantly but more often than not, he finds himself stranded in a groove, unsure where to go next. [Aug 2013, p.67]

It's hard to find anything out of the ordinary here beyond the usual blend of angst rock and stadium bombast. [Aug 2013, p.69]

Price's maximalist approach is largely successful, producing vivid, neon-lit dancefloor monsters like "Axis" and "Fluorescent." [Aug 2013, p.74]

Tracks vary in emotional and sonic tone, sources, instrumentation and complexity. [Aug 2013, p.65]

It's a sometime magnificent beast of superior psychedelia. [Jul 2013, p.76]

Ceremony feels appealingly gigantic. [Jul 2013, p.83]

Her free rock trio is on thunderous form on these lithe and sinewy instruments, stirred up in a cauldron of sub-metal froth and white-hot jazz rock. [Jun 2013, p.76]

This drab, psych-wimsy-garnished exercise in English indie classicism stretches his [Oasis's Paul "Bonehead" Arthurs] goodwill. [Jul 2013, p.80]

Hope In Hell is entirely dreadful, a grim farrago of frenzied riffing and belligerently adolescent lyrics. [Jul 2013, p.69]

Talk of golden snakes, white hands of grief and stalking vultures is somehow steered clear of quasi-mystic cliche, marking out Rose Windows as promising contenders on the psych-rock block. [Jul 2013, p.80]

Pounding opener "When The Drugs Kick In," the workaday wonder of "Everyday," and a churning, blistering cover of Neil Young's "Southern Pacific" highlight a fine return to form. [Jul 2013, p.73]

Nile's river of song runs as deep as it's wide. [Jul 2013, p.80]

The DJ, producer and singer-songwriter's solo third suggests there's no shame in sticking to your retro-futurist guns, as long as you fire off the odd unexpected volley. [Jun 2013, p.76]

Admirably democratic, but a few dictatorial vetoes might not have gone amiss. [Jul 2013, p.71]

There are too many sleepy stretches and not enough memorable songs between these handsome bookends, as a talented young band dredges the past in search of an identity. [Jul 2013, p.81]

There's no dazzle here, but that's precisely the appeal of the Glen Campbell-like "Searching For The Sun," "You And I" and the high noon mariachi of "I'm A Man." [Jul 2013, p.81]

A 40-minute guitar wig-out at the end of the immense White Numbers--filling two CDs or three LPs--will delight Bevis Frond fetishists, but the toytown pop of "More Chalk" and teary madrigal "She's Just Like You" better showcase the cottage industrialist's skills. [Jul 2013, p.71]

Delivered with conviction and defiance these timely tunes benefit from the input of longtime pal and collaborator Rod Picott. [Jul 2013, p.72]

Mostly, Dear Mark J. Mulcahy, I Love You sounds supremely happy to be here: it's an infectious feeling. [Jul 2013, p.82]

For the most part, though, Long Way Down is relentless in its pursuit of a teen audience easily won over by a sensitive man-boy who knows his way around a piano. [May 2013, p.75]

Somehow, Turbines suggests both consolidation and progress. [Jul 2013, p.83]

The result is a pulsating, itchily funky brew, pitched somewhere between Pigbag and Can. [Jul 2013, p.78]

In essence, Ice On The Dune is pure pop with a twist--like a modern day 10cc, or ELO using synths instead of strings. [Jul 2013, p.75]

A beautiful, rather brave album, and by far her best. [Jul 2013, p.83]

All in all, a neat side-stepping of expectations and a timely one. [Jul 2013, p.81]