It's all a very respectable, and closer "P.I.G.S" is great, just slightly disappointing if one had hoped for more than acceptable continuity soundtracks. [Jun 2010, p.90]

Results range from sumptuous to the exotic and baleful, while Mark Lanegan's climactic swansong as post apocalyptic lounge lizard provides a stylish send-off. [Jun 2010, p.106]

As is generally the case with Loaf's oeuvre, the ridiculousness of the enterprise is redeemed somewhat by a recognition of its own absurdity. [Jul 2010, p.112]

Here's To Taking it Easy is a bold record steeped in the golden, rich sounds of classic rock and country. [Jun 2910, p.101]

It's hard going, but one can only applaud the ambition. [Jun 2010, p.83]

It's a short album, just 30 minutes, and "Weird Feelings" is one song that stands for most: full of hooks and sparks it's fun while it lasts but over in two minutes and too easily forgotten.

Relayted manages to be both comfortingly familiar and devastatingly futuristic. [Jun 2010, p.90]

Thee Oh Sees manage to simultaneously evoke Suicide, Them and The Fall on their latest album of echoey, dense psychedelia. [Aug 2010, p.96]

Tahita Bulmer, once the coy mistress of nu rave, now singing lines like "we wake up in the morning and tyhe glass is empty" in a portentous tone, oddly reminiscent of early-'80s Hazel O'Connor, but no more engaging than her erstwhile deadpan party mode. [Apr 2010, p.95]

They appropriate Thin Lizzy's strutting grooves and harmonised guitars on "Dream City" and Psychic Lighting," while other tracks gleefullly work in a careening analog synth as if it had just been invented. [Jun 2010, p.86]

It's the natural, assured way in which Heaven Is Whenever moves between building on past glories and breaking fresh ground that's so impressive. [Jun 2010, p.85]

Oddball, but articulate, brimming over with a delight in language, "Bury" is a wonderful example of Mark Smith's transformative science fiction, and pretty much what one would hope to find on The Fall's first album for Domino records.

The album is reliant on the Scene's female associates--like Lisa Lobsinger on the lovely Moroderish cosmic disco of "All To All"--to bring character to whtat remain some pretty hazy jams. [Jun 2010, p.83]

Woozy, off-track beats blend with video game blips and organic strings, harp and sax, while a cameo from Thom Yorke is woven neatly into this lush, psychedelic fabric. [Jun 2010, p.86]

The guest list is impressive. But it'd take a very straight face to refute the frequent echoes of The New Seekers or Fleetwood Mac, while "Silver Jenny Dollar" sounds like something Mike Batt might have knocked up for The Wombles. [Jun 2010, p.97]

Producer Joe Chiccarelli curbs their proggy tendencies in favor of chromed-out, geometrically precise arrangements embedded with bull's eye melodic and instrumental hooks. [Jul 2010, p.115]

The Latin syllables are well suited to Patton's croon and snarl, and he attacks Fred Buscaglione's cavalier "Che Notte!" with relish. [Jul 2010, p.117]

The veteran Frankfort duo's rather sterile approach to arty club bangers such as "divine" and "Regenerate" leaves them creatively stranded, scoring a hair-gel as on the VIVA channel. [Jun 2010, p.83]

With every element wound so tight, the relentless pace grows exhausting over the long haul. [Jul 2010, p.108]

A deceptively sweet concoction. [Aug 2010, p.79]

So Runs The World Away is vivid, artful, expressive and more besides. [Sep 2010, p.100]

Their debut is a good deal more engaging thgan any number of Bloc Party or Daeth Cab For Cutie comparisons might imply, however apt. [Mar 2010, p.88]

Far too many songs here are conducted in a mid-pace. [Jun 2010, p.90]

Sub Pop reckon they've unearthed a gem in the form of 18-year-old Avi Buffalo frontman Avigor Zahner-Isenberg; the superior West Coast jangle of his debut album suggest they might well be right. [May 2010, p.92]

The idea was to expand Gogol Bordell's palate to accommodate the Ukrainian-American's recently adopted homeland of Brazil. The Good news is that it doesn't matter--if Gogol Bordello still sound like an Eastern European answer to The Pogues, it still means they're doing something nobody else is. [Jul 2010, p.108]

Despite its meaty themes Our Inventions feels rather slight. [May 2010, p.94]

Heavy on stately soul pianos and produced by singer-songwriter Richard Swift, its strength-through-adversity feels is held back from flight by Burhenn's entirely earthbound voice. [Jul 2010, p.115]

Frog Eyes' fifth album has been three years in the making and is every bit as much of an epic as its acclaimed predecessor "Tears Of The Valedictorian." [May 2010, p.90]