A thrillingly inventive blend of alt.rock, fingerpicking folk, Latin flavours and--new this--electronic pop. [Apr 2013, p.67]

It is arguably more satisfying [than his debut, Queen of Denmark], in its artistic courage, its refusal to meet expectations and its willingness to paint a brand new picture of gay demi-monde where the triumphs and tragedies have a deeper resonance than simple melodrama or camp. [Apr 2013, p.70]

A cracking selection of scuzzy, fuzzy, psych-rock songs that recall Royal Trux and Sonic Youth. [Apr 2013]

Guests Toy do their best to push things forward, but their propulsive ways merely emphasise Zeffira's absent voice. [Jan 2013, p.83]

The follow-up to 2010's Innundir Skinni is an even more intimate affair. [Feb 2013, p.67]

What raises Between Places above simple pastiche are the electronic flourishes and surges of pounding drums that pepper the album. [Apr 2013, p.79]

Sparse instrumentation, with Ritter's deftly picked acoustic to the fore, keeps the focus on the lyrics, the post-mortem honesty of which amuse, astonish and occasionally unsettle. [Apr 2013, p.77]

Unvarnished and unpredictable, then, but in the grand Slits/Raincoats tradition, Nash is no-one's little girl. [Apr 2013, p.74]

Fiction's first album is comprised of sweet things shamelessly pilfered from the early '80s pop pick'n'mix. [Apr 2013, p.71]

Like Bryan Ferry aglow after the best afternoon stroll of his life, stylish and uncharacteristically serene. [Apr 2013, p.72]

Cohesion, The Men have clearly decided, is not their bag. [Apr 2013, p.73]

No real lost treasure, then, but some interesting baubles. [Apr 2013, p.89]

[Almanac is] pleasantly dreamy for a while, but over the course of 40 minutes feels just a little insubstantial. [Apr 2013, p.79]

Homosapien sees an intriguing reinvention via more conventional song structure. [Apr 2013, p.77]

Awkward moments of not, this group moves as one. [Apr 2013, p.76]

Oak Island does for Chicago what Panda Bear's Personal Pitch did for The Beach Boys. [Apr 2013, p.74]

Their debut reveals a talent for taut, punkish, pivot-on-a-penny songs that cemented their live reputation before they'd even recorded a note. [Apr 2013, p.74]

Glorious polyglot. [Apr 2013, p.73]

The result is digital psychedelia with eyedrop clarity. [Apr 2013, p.71]

Lightly experimental and laced with playful wit, this is quality gear from a seasoned elder statesman. [Apr 2013, p.71]

Old Yellow Moon is not, however, a sombre anticipation of mortality akin to the American Recordings series of Crowell's one-time father-in-law Johnny Cash. The general tone of Old Yellow Moon is of faintly rueful happiness at being here, doing this. [Apr 2013, p.68]

Anxiety's blend of heaviness and gloss is unexpectedly affecting. [Apr 2013, p.67]

This two-hour epic very occasionally rests on its laurels by using sounds from past palettes, but is characteristically rich and adventurous. [Apr 2013, p.67]

The partners deftly sustain a mood of languor through a dozen tracks of varying tone and texture. [Apr 2013, p.67]

Overall, then, mbv is more of a time capsule than a box of surprises, but the contents have survived in immaculate condition. [Apr 2013, p.64]

The fact that Parker sings five of eleven tracks is The Invisible Way's other obvious point of departure, and one of its great strengths. [Apr 2013, p.61]

Jones' considerable composing,guitar and vocal strengths are marshalled effectively. [Apr 2013, p.78]

There's little that veers from the template but it's largely done well. [Apr 2013, p.72]