Mostly Kin is a deeply rewarding immersive experience. [Oct 2012, p.81]

It all sounds closer to 1990s David Bowie studio funk than the man who once went commando with the likes of Sabotage/Live and Music For A New Society. [Nov 2012, p.71]

It reads like a compendium of retro cool that leans on the cinematic, instrumental style of DJ shadow and Peanut Butter Wolf. [Dec 2012, p.67]

Thanks to her Valley Girl charisma and omnivorous sexual gaze she mostly succeeds. [Dec 2012, p.73]

It's a blend of the mostly throwaway and occasionally essential. [Dec 2012, p.71]

It certainly recalls the space-age jazzers whose careers ran parallel to them. [Dec 2012, p.75]

The new varnish appears to add little to an already sumptuous-sounding set.

It's a decidedly sparser backdrop for his erudite, torch-like confessionals. [Dec 2012, p.76]

There are plenty of enjoyable moments on Winterval, but this masks a slightly hollow core. [Dec 2012, p.79]

Throughout, there's evident delight in lexicographical obscurity that echoes James Joyce or Will Self: no bad thing in itself, though when allied to the sometimes impermeable, abstract constructions, the results can be frustratingly opaque. [Dec 2012, p.61]

The songwriting is impressive throughout. [Dec 2012, p.79]

Although its boundary-stretching ambition is cheering, Hidden ultimately struggles to engage. [Oct 2012, p.87]

Ultimately Bailiff sounds too much in thrall to her shoegazing peers. [Dec 2012, p.69]

American Soul is more rewarding than Phil Collins' recent album of Motown covers, but is ultimately defined by a similar sense of futility. [Dec 2012, p.72]

Lux works on a pragmatic and egalitarian level as more or less the ideal ambient record. [Dec 2012, p.66]

[The] rather slight songs raise the suspicion you would get more out of listening to Clinic's record collection than the band themselves. [Oct 2012, p.68]

Assbring has succumbed to the same fate as her country-woman Lykke Li, forsaking early charm for a vague sense of attitude that's largely devoid of presence. [Dec 2012, p.69]

His is a personal, emotive take, and it proves very effective. [Dec 2012, p.72]

It has an effortless momentum and addictive melodic pull that renders serious criticism redundant. [Dec 2012, p.73]

The emphaiss here is on standalone songs, with each bandmember apparently harking back to teenage memories. [Dec 2012, p.73]

The real ace up their sleeves is their exquisite harmonies. [Dec 2012, p.77]

Lonerism is more melodic and expansive then 2010 debut Innerspeaker, connecting the disparate dots with real elan. [Nov 2012, p.84]

As sublime as much of Instrumental Tourist is, it rarely fulfills that promise of improvisation, of a real sonic engagement or play, and struggles to exceed the sum of its parts.

Despite the silly title and gorilla sleeve, this 3CD compilation proves a respectable primer.

The first four tracks are surprisingly limp-leaved, pastel-shaded electro-synth in a decidedly retro vein. From then on, it gets better. [Dec 2012, p.71]

Sonnymoon offer a fresh and forward-thinking new voice in experimental electro-soul on this beautifully assured self-titled debut. [Nov 2012, p.83]

A bit Mariah Carey on paper, but startling in practice. [Dec 2012, p.77]

The backing is beautifully understated but it's Becky Stark's pure, unaffected folksy sigh that's a thoroughly comforting presence throughout. [Dec 2012, p.73]