Elsewhere, Garner sounds like he's been spending time with Revolver, while songs like "The Ballad Of Little Jane" and the genial swirling "Lullaby" further the rich tradition of Dutch psychedelic pop. [May 2013, p.71]

There's a twisted melancholy to vocalist Brooks Nielsen's lyrics on this third album. [May 2013, p.71]

In spite (or maybe because) of their flaws, there's a vivid presence to tracks like "Heaven" and "My Little Universe" that fans will flock to and onlookers can't help but smile at. [May 2013, p.69]

This year's Slowhand again, for the most part, delves deep into bygone songbooks, flitting between styles with consummate ease. [May 2013, p.69]

It hard to work out what's more annoying from the rest, be it Dustin Payseur's forgot-my-gym-kit vocals, the self-important but frankly juvenile ambient interludes, otr the neat riffs, which sound like plugins from some indie-pop iPad composition app. [May 2013, p.67]

Despite a tendency to drift slightly, BSP remain a reliably warm-hearted antidote to the bustle of modern life. [May 2013, p.68]

Vanishing Point is a riot of dirty--yet never cluttered--Detroit riffs and Mark Arm's laconically enrage vocals. [May 2013, p.74]

American is seldom better than its title track, searing swamp-punk that recalls Grinderman in its diabolic abandon. [Apr 2013, p.78]

Musically, it is business as usual--out-on-the-floor, stack-heeled indie stompers all the way--but if 2010's stark Losing Sleep was a little on the abrupt side, this is more concise still. [Apr 2013, p.75]

New guitarist Matthew Simms has refreshed Wire's sound. [Apr 2013, p.79]

A bold 10-track classic boasting a deftly modernised '70s-retro feel led by Hobba's clean young voice and dirty, Neil Young-meets-shoegaze guitar. [Apr 2013, p.77]

It attempt to meld guitars with '80s Europop much like Phoenix has done, to the extent that single "One Way Trigger" sounds like A-Ha. The experiment is often successful. [Apr 2013, p.78]

The fizzing alt.rock of the follow-up sounds like a determined effort to be his own man. [Apr 2013, p.77]

A creative triumph out of Mali's darkest hour. [Mar 2013, p.73]

This follow-up to last year's impressive debut, Dear, is no less musically intense or lyrically unflinching, but now Henson's quavering anxiety has flesh on its bones. [Mar 2013, p.]

The seamlessly authentic sound fit his raw and lusty vocalising, and the impressively tailored swagger 'n swing og his band, to a tee. [Mar 2013, p.73]

The murky results are sometimes frustrating. [Apr 2013, p.71]

There's an unwelcome hint of Florence Welch's swollen emotionalism on "Tomorrow," but the surging pop of "Touch" is more successful. [Apr 2013, p.69]

Deptford Goth's ghost R&B keens admiringly in the direction of Bon Iver and Active Child. [Apr 2013, p.69]

It's a credible step back into the ring after years on the ropes. [Apr 2013, p.66]

Her repetitive riff in the early section teeters on the ponderous, and some of the electronic production is mere promotional muzak--but there are stunning passages here. [Apr 2013, p.65]

Sadly, torrid synthesiser and billowing melodrama make it impossible to see any wry glances cast by Exile. [Apr 2013, p.73]

John Rouse's ninth album is a return to the sound that made 2003's 1972 such a gem. [Apr 2013, p.77]

For the most part, there's nothing wrong with the lyrics. "Do Unto Others" is a fine secular hymn, while "January Song" has some smart digs at the Tea Party, but, in both cases, the voice never convinces. [Apr 2013, p.80]

Manicured cuteness, trite melodies and a tendency to banal, genial navelgazing leave an impression of carpet-bagging slackers contriving decorous but vapid Tourist Board pop. [Mar 2013, p.79]

If some of Teena's mid-80s belters betrayed an eagerness to over-emote, her technique here is more restrained, which suits her voyage into Indo-tinged soul and a few delicious slow jamz. [Mar 2013, p.90]

This very fine third album carries much of Okkervil River or The Decemberists in its piquant narratives, though the banjo-led music is more akin to the erudite hillbilly-folk of Jim White or even The Be Good Tanyas. [Apr 2013, p.73]

A soulful, adventurous, state-of-the-nation classic. [Apr 2013, p.73]