Fistful Of Mercy itself is certainly Fleet of Fox, but it's also strong of cheese. [Jan 2011, p.98]

Like Blue Velvet, Forget is a lurid fever dream--and a magnificent hymn to suburban teenage romance. [Jan 2011, p.98]

One new track, "universal Child," fails to lighten the mood. [Jan 2011, p.94]

Huey's gruffy mannered vocals predominate--apparently the aim is to steer listeners to the originals, in which case, job done. [Jan 2011, p.94]

As poetry alone, it's interesting, but the music's elegance make it something more. [Jan 2011, p.93]

These 18 collaborations are a fascinating voyage through the classier end of pop, country and R&B over the past decade, and also add much needed focus to Jones (sometime insipid) mix of country and smooth jazz. [Jan 2011, p.93]

He's a man who cleary thrives on company, his stringy voice bolstered by the presence of Jolie Holland, Neal Casel, an on "No time To live Without Her," Vashti Bunyan. [Jan 2011, p.92]

Persist though, and there are countless fascinating poly-rhythms and concealed melodies in the sub-strata. [Jan 2011, p.91]

There are lots of martial bust-ups and squalls of fretboard fury that show that Buddy may be old but he's still wild. [Jan 2011, p.88]

An audacious, risk-taking tour de force, it locates itself in the upper reaches of Steve Wynn's increasingly daunting canon. [Jan 2011, p.87]

Although it's hardly Green's fault, Mark Ronson's retro-soul ubiquity makes this record sound less fresh than it otherwise might have. [Jan 2011, p.86]

Luckily, the music, a tapestry of harmonica, bass clarinets and bamboo flutes, is a florid, textured joy. [Jan 2011, p.86]

For once they look to be towing the line rather than drawing it a new. [Jan 2011, p.85]

On its own merits, rather a hoot. [Jan 2011, p.83]

"My Foolish Heart" is delivered with some delicacy, "Sunny Side Of The Street" is playful, and "Fly Me To the Moon: floats Rod's voice over synth strings and a lazy piano. Otherwise, stick with Sinatra. [Jan 2011, p.103]

Collecting from 10 years of album offcuts, Death To False Metal will be a treasure chest for the disenchanted. [Jan 2011, p.106]

The performances outshine the material. [Dec 2010, p.119]

Imagine John Fahey channelling the pulse minimalism of Steve Reich or Hendrix jamming African highlife on a digital drive pedal. [Dec 2010, p.119]

Occasional similarities to Placebo may be unfortunate, but they are countered by the record's bracing directness and infectious vitality. [Dec 2010, p.109]

Though this showcases the group;'s customary modular wit, it doesn't give Laetitia Sadier much to work with tune-wise. [Dec 2010, p.106]

Impressively artful forgeries all round--but unlikely to appeal beyond their diehard following. [Dec 2010, p.105]

Telephantasm, their latest, breaks a good deal more wind than it does ground. {Dec 2010, p.105]

This collection does him justice by featuring cuts from all seven albums in the Smith catalogue. [Dec 2010, p.105]

As he mostly prefers to copy the sound of the original guitarists rather than stamp his own unique style on these over-familiar songs, you have to ask what's the point? [Dec 2010, p.105]

Even if Rose is short on killer tunes or delivery, her oversupply of nostalgia charm is ultimately no bad thing. [Dec 2010, p.105]

It's a pleasant enough listen, but the feeling of overwhelming pointlessness is hard to shake. [Dec 2010, p.98]

Just when you think you've got the measure of Pierce's winsome tropicalia, he pitches another delightful curveball: a curiously faithful cover of The Lemonheads' "Mallo Cup." [Dec 2010, p.98]

Boasts and breakbeats are in short supply here. Instead, over gloomy strings, and pounding martial drums, Cudi rails against celebrity culture, confesses to coke-fuelled rages and even contemplates suicide. [Dec 2010, p.97]