Rolling Blackouts is as invigorating as their debut. [Feb 2011, p.87]

Reinterpreting these sample-and-synth-laden originals for guitar is quite an achievement, and the results are certainly fascinating. [Feb 2011, p.82]

[A] slim, but enjoyable album. [Jan 2011, p.88]

The prolific five-piece's cosmic space programme occasionally fails to launch, but at their transcendent best they harness the ragged glory of mid-'70s Neil Young with the epic fluidity of Popol Vuh and the blazing guitars of Spacemen 3. [Dec 2010, p.85]

His latest, Bella, is laden with sumptuous melodies and mordant wit. [Feb 2011, p.103]

The World Is Yours contains repetition aplenty: but no hesitation or deviation. [Feb 2011, p.93]

The collection is a little frontloaded, petering out with some tracks of solo guitar, bass and drums. [Feb 2011, p.82]

Adele is repeatedly cast as the heartbroken survivor. That role serves to foreground her mighty impressive vocals, but also encourage the showboating overkill that is a staple of the X Factor generation. [Feb 2011, p.79]

Arcade Dynamics is marginally more developed than previous releases. [Mar 2011, p.88]

There are traces of Rio's fantastic lipglossed silliness, but overall the arty party pop of All You Need IS now feels like an attempt to rescue a venerable British band long damaged by poor decisions. [Mar 2011, p.88]

It's a sequel of sorts to Democrazy, but sounds infinitely more accomplished--undoubtedly part of the technological point that he's making here. [Mar 2011, p.91]

The music is pure old-time country though, their pressed-linen harmonies already hailed by Exec Producer T Bone Burnett--on whose label this mostly covers record is released--as among the purest he's ever heard. [Mar 2011, p.92]

The downhome strum of "Stuck Like Glue" has a certain charm--at least until its horrific cod-dancehall break down--but fails to redeem a depressingly calculated record. [Mar 2011, p.101]

In places it's impressively monolithic. [Feb 2011, p.82]

The tunes remain no more exotic than a British cottage pie, and all the meat and potatoes that entails. [Feb 2011, p.79]

Mine Is Yours is the sound of a band itching to make their breakthrough. [Feb 2011, p.81]

Red Barked Tree is the most successful product to date of this examination. [Feb 2011, p.86]

It's a grim assemblage of cliche from the title downwards. [Feb 2011, p.90]

The trio still favour widescreen grandeur, epic choruses and portentous keyboards, but they've exorcised their Duran Duran and Billy idol tendencies. [Feb 2011, p.105]

Ness' songs tackle his experiences with hard, unforgiving honesty. [Feb 2011, p.99]

While there's not any unity of occasion to speak of, the cover of "Arms Aloft" by Joe Strummer And The Mescaleros is an impressively galvanising opener, new material sitting comfortably alongside older, more diffuse cuts. [Feb 2011, p.95]

There's a whole gamut of compressed pop guitar stylings; some leap out, others don't. [Feb 2011, p.95]

Like the opener, ["Rolling Stone"] promises more than it delivers, but pretty much everything in between rings the bell. [Feb 2011, p.80]

The Decemberists' most immediate and outgoing album. [Feb 2011, p.76]

Bits and pieces, even within the album's successful tracks, are overcooked and threatens to capsize the project into mere camp or noodly instrumental preening. [Feb 2011, p.91]

Content's fiery funk will have you bouncing around and beaming at the return of this inspiring, influential unit. [Feb 2011, p.87]

This fourth album is straining toward a more commercial sound, but pop crossover needs hit songs and F&M's best moments are still driven by ace rhythm section Matt Hainsby and Lee Adams. [Feb 2011, p.87]

Deerhoof are close to knocking the Flaming Lips off their exalted perch. [Feb 2011, p.82]