Lollipop is their 13th Studio album, and one of their best. [Jun 2011, p.91]

Their eight album of earnest, limpid lullabies is notable once again for the spangled guitar of long-term collaborator, Ghost's Michio Kurihana. [Jun 2011, p.80]

Her seventh solo album is effectively her third LP of self-penned pop songs, and it suits her bawdy contralto voice rather better. [Jun 2011, p.79]

On Dissolve, his best LP to date, he's gone full colour. [Jun 2011, p.79]

Art Brut's fourth album marries attractively sloppy garage-rock riffing to boozy bad-sex confessionals and bittersweet self-examination. [Jun 2011, p.77]

If there's a tiny problem, it's that such sonic weirdness detracts a little from Del's entertaining rhymes. [Jun 2011, p.80]

Wells adds waves of beauty, and flurries of click-track neurosis to Moffat's dispatches from the fringes of self-disgust. [Jun 2011, p.91]

While the likes of Living It Out are perfecting mutant disco, Rostron's self-consciousness means this expertly produced set suffers from too much quirkiness. [Jun 2011, p.93]

PATP are on no less poppily compelling form with their sophomore LP, but display a new, darkly rocky drive and increased lyrical cynicism. [Jun 2011, p.93]

Cantrell'a sprightly tribute LP is beautifully rendered, her bell-pure voice and the chops of Chris Scruggs, Fats Kaplin and Lambchop's Mark Nevers lending old songs a new, urban sophistication. [May 2011, p.92]

Crucially, though, sardonically strong melodies underpin the, er, shit. [Jun 2011, p.94]

Helplessness Blues is as passionately desolate as anything on Closer, the record which documented Ian Curtis' romantic guilt and existential confusion. [Jun 2011, p.74]

There's little on Heaven And Earth to truly trouble his best work, but throughout there's plentiful evidence of the many qualities which made Martyn so indefinable and influential. [Jun 2011, p.84]

The visionary meditations of John Tavener are a touchstone, and though used sparingly in the film's final cut, this dark, unsettling music stands proudly on its own. [May 2011, p.87]

This agreeable sequel boasts a more coherent country-folk sound, ironing out some of its predecessor's quirky, hand-knitted allure. [May 2011, p.77]

After the intermission of Aerial, could this mark the real beginning of the second act of Kate Bush's brilliant career? Let's hope, like Molly, the answer is "Yes..." [Jun 2011, p.81]

Demolished thoughts is his strongest solo collection to date. [Jun 2011, p.91]

This is the sound of a valuable, extravagantly vital band in full swing. [Jun 2011, p.91]

It's worth getting lost in their groove. [Jun 2011, p.93]

Gimme Some's relentless melodicism arrives with a harder edge than the dreamy naivete that powered "Young Folks," but the results frequently feel just as fine. [Jun 2011, p.93]

This complacent record from long-time drone lover and former Lungfish guitarist Asa Osborne gets the recipe badly wrong. [Jun 2011, p.103]

It's less wacky than their first--if still faintly smart-alecky--and boasts a clutch of impressively efficient, synth-powered indie pop numbers. [Jun 2011, p.103]

Elsewhere the good time roll with tuneful consistency as singer Cameron Omori arranges his affairs of the heart into three-minute teen-dreams called "Dance Away" and "Fallen In Love." [Jun 2011, p.96]

Here, they tinker with the formula slightly, shedding the surf drums, and adding washes of synth (usually a mistake, and so it proves). [Jun 2011, p.94]

The sheer abundance of ideas starts to wear the listener down a little ma few more slow-burners like "Bad News, Strange Luck" wouldn't go a miss. [Jun 2011, p.94]

An immersive blend of the symphonic and electronic, this absorbing album taps into a noble lineage stretching from AR Kane's lysergic avant-pop to sci-fi jazz alchemist Flying Lotus. [Jun 2011, p.94]

It is gleeful and vigorous, full of echoes, pan pipes, samples and shimmering surf guitars. [Jun 2011, p.94]

Fresh from his role as bandleader/producer on Robert Plant's Band Of Joy, Miller has corralled fellow guitarists Bill Frisell, Marc Ribot and Greg Leisz for this fine ensemble project. [Jun 2011, p.92]