This is urban-global rather than world music. [Mar 2012, p.92]

With its fidgety electronica and shredded rave, 11th album Parastrophies might've raised eyebrows in 1996, but today there are few Spotify playlists that would unironically accommodate squiggly chip-tunes. [Mar 2012, p.92]

Guthrie's work endures because if its essential big-hearted hospitality--and Farrar, Johnson, Parker and Yames have mad themselves right at home. [Mar 2012, p.93]

Like Maja Ratkje, Jenny Hval and Bjork, Hukkelberg adds another to her already impressive catalogue. [Mar 2012, p.87]

It's all unceasingly beautiful. [Mar 2012, p.81]

The album's heavily layered ambi-rock confections indulge the duo's mutual love of spangled guitar effects, tinselly twinkles and pearly dewdrop shimmers. [Mar 2012, p.97]

It's quite beautiful, even if it feels a little pacific and lav-lamp-like in the long haul. [Feb 2012, p.84]

Will Ozanne comes across as a milder version of James Blake. [Mar 2012, p.84]

These are beautiful songs with a murderous heart. [Feb 2012, p.90]

Screws Get Loose is crammed with infectious pop and arch lyrics that recall The Runaways or Shampoo. [Mar 2012, p.101]

Stewart's preoccupation--narcissism, sexuality, body horror--translate into a sort of febrile synth-pop, dotted with orchestral excursions and abrupt electronics. [Mar 2012, p. 107]

Wong works up from trickling sounds as seemingly innocuous as mid-morning TV music to a rumbling, looped ferocity. [Mar 2012, p.107]

Ghostory is supposedly a concept-album song-portrait, but [the album] feels as evanescent as expensive perfume. [Mar 2012, p.98]

This rather too eager-to-please set doesn't quite live up to its promise. [Mar 2012, p.82]

Every track is a precision-tooled triumph. [Mar 2012, p.81]

This, the follow-up to his lo-fi 2010 debut Learning is a dark business. [Mar 2012, p.97]

White has not only fashioned a terrific album from less than ideal circumstances, but one that finally feels like a worthy successor to No Such Place. [Mar 2012, p.96]

One-hit wonders no more, White and de Martino now sound prepared for a big pop future. [Mar 2012, p.101]

Hotel Sessions is infinitely more charming than the finished item. [Feb 2012, p.91]

LA Woman is at times a raw and bluesy affair, but still one of exquisite taste and judgement. [Feb 2012, p.84]

Brave and bonkers. [Mar 2012, p.94]

Derek Miller's flashy axemanship and Alexis Krauss' swoon are compromised by sanitized production. [Mar 2012, p.98]

[The album recalls] the warm, breezy charms of labelmates Beach house. [Mar 2012, p.92]

A musical time machine. [Mar 2012, p.82]

Here the pair [Richard Swift and Damien Jurado] resume roles for an equally enchanting follow-up. [Feb 2012, p.96]

The album's highpoints, particularly "Show Me Everything" and "This Fire Of Autumn" showcase a band who seem to have rediscovered new ways of putting together their already impressive constituent parts. [Mar 2012, p.101]

The Caretaker creates ambient music that doesn't merely settle in the background but is evocative of memory and loss. [Feb 2012, p.83]

The songwriting is always of a high quality. [Mar 2012, p.79]