An album which is a little too anodyne, but redeemed by an engagingly human warmth and unforced sincerity. [Jan 2013, p.83]

Luxury Problems is distinguished by the piercing vocals of Stott's former piano teacher, Alison Skidmore; looped, layered and heavily reverbed, they coil elegantly around Stott's brutalist constructions. [Jan 2013, p.83]

The Voices are usually disembodied munchkin bables which flutter appealingly around the mix, but sometimes Stumbleine makes proper songs. [Jan 2013, p.82]

While the lack of any sound less than 30 years old does occasionally grate, Zeros ends up capturing a sinister cinematic vibe than John Carpenter would be proud of. [Jan 2013, p.82]

Into The Future is a heroic act of denial, nonetheless. The remaining Brains still burn with magnesium-strip intensity. [Jan 2013, p.82]

An album crammed with adhesive melodies. [Jan 2013, p.81]

A welcome return. [Jan 2013, p.81]

In places it has a feel of soundtrack work, strangely restrained for such club fiends, but their grasp of pensive, unsettling dynamics is firm. [Jan 2013, p.80]

The remixers' default mood is kind of middle-of-the-road electronica, neither daring nor danceable. [Jan 2013, p.79]

It's certainly cinematic, and there are nods to Morricone. [Jan 2013, p.79]

Mostly, he comes across as a one-man Arcade Fire. [Jan 2013, p.79]

The result is both pensive and romantic, a work filled with vividly poetic snapshots. [Jan 2013, p.79]

Life & Times is a winning showcase of their uptempo moods. [Jan 2013, p.77]

[A] stunningly well-designed and authoritative record. [Jan 2013, p.77]

The fourth album finds them touting a tougher sound with the addition of a second guitar, but the strident, passionate voice of Erika Wennerstrom remains their calling card. [Jan 2013, p.77]

Like Tragedy & Geometry, it's awash in vintage synthesised sounds with which fans of Tangerine Dream and Ash Ra Tempel will be familiar, but remains considerably more concise than this (and its predecessor) suggests. [Jan 2013, p.77]

Post-Bush, post-9/11, post-financial crisis, they sound more like [a] documentary. [Jan 2013, p.77]

The entire album has a refreshingly spontaneous feel, the result of their cutting the dozen songs live, including Parker's vocals. [Jan 2013, p.75]

Well worth the wait. [Jan 2013, p.74]

Her technical brilliance remains stunning; it's now matched by her maturity and modernity. [Jan 2013, p.74]

[van Wissem's] solemn, minor-key lute lines become ensnared in Jarmusch's riptide of guitar feedback and fading chords. [Jan 2013, p.74]

Deer Creek Canyon is dappled with sad-slow shuffles and lovely ruminations on escape, the roll of the seasons and her roots in Colorado. [Jan 2013, p.73]

Bastards sounds like a new Bjork album rather than a cursory add-on. [Jan 2013, p.71]

This impressively diverse and full-bodied debut by 22-year-old Parisian producer Jeremy Guindo is a heartening advert for electronic dance music's blissful spirit of perpetual self-renewal. [Jan 2013, p.71]

As a reminder that music is fundamentally there for our pleasure, The Jazz Age is splendid. [Jan 2013, p.68]

In sentiment and execution, Feeling Mortal is more Hank than Dylan, yet there's a subtle poetry in the way the lyric flits between life and death, dreams and wakefulness.

The acid test of any recorded OST is its ability to stand independent of image and dialogue and on that count, Hill's latest as Umberto more than measures up. [Dec 2012, p.78]

Aside from the Ryan Adams-esque "Bonfires." on their second album the more scruffy, down home elements of Alberta Cross' 2009 debut have been buffed to a stadium sheen. [Sep 2012, p.71]+