There are a few too many tracks here that don't quite achieve lift-off. [Oct 2012, p.74]

It is readymade for a kegger; the problem is, on this, their third LP, they have yet to shape their influences into a sound they can call their own. [Oct 2012, p.77]

He can be relied upon to sprinkle a few brilliant tunes on each release, and this is no exception. [Oct 2012, p.81]

Amos teams up with the Metropole Orchestra to revisit songs from her '92 debut onward, adding sumptuous, bejewelled dimension to the rich expressive like of "Precious Things" and the conceptual epic "Yes, Anastasia."[Nov 2012, p.69]

The results are lively and irreverent. [Nov 2012, p.77]

This album pursues a theme of escape from the more lurid temptations of early adulthood, and Darnielle locates an aptly urgent yet reflective tone. [Nov 2012, p.79]

The further Merritt strays from her default setting, the more affecting she is. [Nov 2012, p.79]

Thankfully, more often than not Eitzel is on great form. [Nov 2012, p.82]

A scene of glorious, twilit devastation. [Oct 2012, p.75]

The result is a high;y accomplished and warmly uplifting country-soul album that easily holds its own amid both musicians' back catalogues. [Oct 2012, p.73]

The sense throughout is of awesome power, as effective simmering as it is unleashed. [Nov 2012, p.85]

The pram is in the hall, perhaps, but the art remains in the right place. [Nov 2012, p.85]

Fuzz and reverb are everywhere, but The Soft Pack are also refreshingly unafraid of the sax solo. [Nov 2012, p.81]

She's at her best on the lachrymose likes of "Close To The Edge" and "Just A Dream," less successful when angling for Grand Ole Opery classicism or-- as on "Un-Break"--flirting with funk-metal pop. [Nov 2012, p.81]

Muse redeem high-camp absurdity with a genius for sumptuous arrangements, mighty pop hooks and irresistible melodrama. [Nov 2012, p.79]

[Their indulgences] can be tiresome--"People On Strong Stuff" plods without purpose--but equally provides passages of uncontained elation. [Nov 2012, p.79]

Silver Age revisits Sugar's thick-set pop style. [Nov 2012, p.79]

The sheer velocity with which they throw ideas out makes this a mighty exhilarating record. [Nov 2012, p.77]

Mala finds his skills somewhat exposed across a whole album as he seeks to balance frisky Cuban percussion with his own muscular poise. [Nov 2012, p.77]

Producer Craig Street's customary forte is smoothness but the grittier Muscle Shoals influence he's channeled here is perfectly tailored. [Nov 2012, p.77]

The album, reminiscent of Jon Spencer at times, exudes a deep love of rock 'n' roll on each track. [Nov 2012, p.77]

Aiming for Springsteen-like glory, they settle instead for overcooked melodrama on parade of would-be anthems sufficiently over the top to make Muse envious. [Nov 2012, p.76]

An intriguing new artist has found his voice. [Nov 2012, p.76]

This 12-song return tones down the pomp, in favour for a return to the band's breathless takes on Ramones/Buzzcocks pop-punk formula. [Nov 2012, p.75]

Where Flying Lotus scatterbrain brings emotive grooves out of madness, GLK can only manage ugly, mostly boring sketches. [Nov 2012, p.75]

It's hard to shake the sensation that the band have become rather more ordinary as a result [of the departure of Frank Carter.] [Nov 2012, p.73]

Folds stays true to his career-long mission to whisk up a melting pot of musical styles. [Nov 2012, p.73]

It is often reminiscent of auntie's work, but with a solid beat underpinning. [Nov 2012, p.73]