Anyone partial to the distinct strain of English folk from yesteryear, namely the sylvan otherness of Trees or dawn-of-the-70s Fairport, will find plenty to toast in the music of Wolf People. [Jun 2013, p.81]

A more enjoyable pairing of words and music this year it's hard to imagine. [Jun 2013, p.63]

Too many of these frictionless Eurodisco makeweights only prove that great, urgent, heart-tugging electro-pop is easy to stimulate but difficult to pull off successfully. [Jun 2013, p.75]

MCII hits you with the immediacy of a record that you're listening to for the first time but feel like you've already heard a thousand times and yet still aren't bored of. [Jun 2013, p.70]

While there's nothing wildly original on In Technicolor, the energy and attitude that relative youngsters Georg Conrad and Marius Bubat stir into their psychedelic synthpop and off-kilter electro suggests that they know the rules well enough to be able to gently subvert techno cliches. [May 2013, p.69]

It's a beauty. [Jun 2013, p.81]

Their fourth album continues in the vein of 2011's Last Night On Earth, divining its inspiration from cool, crisp '80s US new wave, "Every Breath You Take" bass lines, Brat Pack soundtracks and wistful songs about girls. [Jun 2013, p.76]

The songwriting basks in his love of music, freedom, friendship, dogs and tractors. [Jun 2013, p.78]

The sparser moments are undoubtedly tender, but the reverential glow soon dims, and the cliched cries of empowerment don't help. [Apr 2013, p.74]

Cox's wistful croon and a proto-motorik chug are as wonderfully deadly as ever. [Jun 2013, p.71]

It all kinda works. [Jun 2013, p.73]

There are some creative dead-ends, but there is enough here to warrant a reappraisal. [Jun 2013, p.94]

Kate St. John's arrangements are suitably elegant, but most of the performances here are proof that Drake's gaunt, under-performed songs do not welcome wobbly bottom-lipped reinterpretation. [Jun 2013, p.81]

It's an impressive cast, matched by the energy and eccentricity of the contemporary and traditional songs alike. [Jun 2013, p.81]

It's a riot of scattershot styles. [Jun 2013, p.81]

Images Du Futur is an altogether sleazier affair on which Suuns, toughened and grubby from two years on the road, come into their own. [Jun 2013, p.79]

[The] excellent follow-up [to its 2010 debut] finds John Kowalski and Rian Trench playing to their strengths with horizons newly broadened. [Jun 2013, p.79]

Light Up Gold packs 15 songs in 33 minutes, and most are great. [Jun 2013, p.78]

Fandango, their fifth album, is built of the same stuff [as 2011's Buffalo], though with a grander sense of scope and ambition. [Jun 2013, p.78]

While the album is too long, he consistently crafts a fine tune. [Jun 2013, p.78]

Nelson being Nelson, this lackadaisy tends toward the affable and charming more often than not. [Jun 2013, p.76]

Off The Record marks a return to form. [Jun 2013, p.69]

Jello is still in good voice, so this could basically pass for a mid-80s Dead Kennedys album, were it not for the contemporary references. [Jun 2013, p.69]

There is splendid piano-pop, leanly recorded excursions in cosmic prog, and evidence of an occasional charming eccentricity. [Jun 2013, p.71]

While there's pleasure to be had from the band's exuberant MC5-meets-AC/DC racket, their dubious tales of salt-of-the-earth hookers, as found in "Call Girl Blues," and drunken lechery, outlined the willfully crass "Hungover And Horny" takes the retro vibe too far. [Jun 2013, p.71]

Heza still contains several terrific examples of hooky guitar pop. [Jun 2013, p.73]

He successfully channels Sam Cooke, especially on "We Don't Sleep" but the album's length and lo-fi production makes Bye Bye 17 appear disconcertingly slight. [Jun 2013, p.74]

Audacious and urgent. [Jun 2013, p.74]