Working with former Lamb partner Andy Barlow for the first time in six years, her marriage of vocal and acoustic guitar is raw yet rewarding. [Apr 2010, p.97]

It is his most beguiling release yet. [May 2010, p.85]

The music starts to grip most powerfully when it's more allusive and introspective.

You couldn't imagine anyone else pulling all this off with such grace and style. [Jun 2010, p.96]

B-Real and Sen Dog's adenoidal cartton raps about beefs and bongs can still raise a smile when matched to a sparse, elastic beat, but the novelty of a Cypress Hill comeback has long since worn off by the 15th track. [May 2010, p.86]

It's this pretence of overbearing world dominance which is realised on Thing. [May 2010, p.108]

Fire Away makes an energetic fist of recapturing in the studio their raucous collision of salsa, hip hop, funk and R&B. [Aug 2010, p.91]

This terrific album casts its net wider though: as well as Dinosaur fans, this will appeal to admirers of T. Rex, Thin Lizzy, Reigning Sound ad Alex Chilton, too. [May 2010, p.108]

These songs are full and rich, with longtime foil The Strangers creating honky-tonk, country shuffles and even Tin Pan Alley backdrops that often explode with life. [May 2010, p.98]

This terrific record is the first on her own Everso imprint and seems to finds her more settled. [Oct 2010, p.89]

That it so compellingly rescues a cache of unforgettable songs and signals the unlikeliest of artistic revivals, must rank it among rock's most trascendent tales. [Jul 2010, p.109]

It features vernal song titles and sleeve imagery, in contrast to the half-whispered, wintery beauty of their last LP, which was echoed by its snowy cover scene. [Jul 2010, p.108]

This is a wilful and lovably eccentric second album from a band who've had a sniff of being pop stars and decided they'd much rather be weird and esoteric, thanks all the same.

's the urgent but effortless certainty that Matsson was born to sing these songs. [May 2010, p.108]

Featuring gently swooning arrangements by Nico Mhly, four duets with Beth Orton, three nimble reworkings of children's singing games and an affectionate R Kelly cover, I See The Sign inhabits an enchanted universe, not a million miles from Sufjan Stevens' "Michigan." [May 2010, p.83]

Yes, Beck was always unpredictable, but this is one weirdly unfocused album. [May 2010, p.83]

Texturally, the mood is one of warm, sensual dreaminess, of hushed vocals and woozy analogue synth. Prins Thomas isn't, though, wanting of strong grooves. [May 2010, p.102]

This is the best Raw Power has sounded since it was first humiliating people's turntables in the 1970s.

With their stuttering beats, AutoTuned vocals and cheerfully foulmouthed lyrics, these genetically modified mongrel tunes are mostly misfires, which only makes them more intriguing. [Sep 2010, p.101]

Unfortunately, Scouting For Girls occasionally meander out of their depth. [May 2010, p.102]

There's sparse evidence of their supposedly influential stay in Mali with desert bluesmen Tinariwen here, and ultimately their sonic porridge ends up a tad unsalted. [Mar 2010, p.98]

It's almost as if the quieter tracks allow her to relax, while the full band numbers--fleshed out rather over-eagerly by a group containing several Mumfords and a Whale--subdue and constrain her. [Apr 2010, p.101]

As long as nobody mentions Aled Jones, this is exhilarating. [May 2010, p.94]

Here Lies Love could do with a lot less reportage and a great deal more drama, melody and wit. If anything, with morem not less, artistsic licence. [Mar 2010, p.99]

For all the effective arrangements, most of the songs sound a bit anonymous. [Jun 2010, p.92]

Wolf's twofold skillfulness and stirring guest performances compensate for the sometimes overcooked arrangements. [Apr 2010, p.109]

This album finds him in complete mastery of his musical range and lyrical fancies. [Apr 2010, p.91]

More by accident than design, it works sometimes. [Aug 2010, p.79]