Mi Ami makes a joyfully ungovernable tribal noise on this second album. [May 2010, p.99]

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

Steve plays all the instruments, aside from drums, and records on studio equipment of comparably venerable vintage to Steve himself. This fundamentalist approach inevitably places a huge burden on the singing and songwriting.

It's a neat homage to '60s girl groups and C86 bands they inspired, spooked-out bubblegum delivered in singer Dee Dee's naive but infectious sing-song. [Jun 2010, p.98]

It's far from hip, but unfairly dimissed. [Jun 2010, p.91]

Outbursts takes them full circle, back to their salad days as a melodic, acoustic folk-pop duo on simple, ringing, uplifting songs such as "Sea Change," "never Stops" and "Will Power," while the Radiohead-influenced "Radio Silence" hint at a grander ambition. [Apr 2010, p.106]

There are flashes of grouchy greatness from all three--but only flashes. [Jul 2010, p.115]

The Living Sisters have put their respective groups aside to concoct a delicious LP straddling the genres. [May 2010, p.97]

The attempt to stir his inner shitkicking garagepunk isn't always successful but a handful of tracks here are creepily sensual. [May 2010, p.85]

This fine collection is actually more enjoyable than the Shjips' second album proper. [Apr 2010, p.109]

Cacophonous, chaitic, and a lot of fun. [Apr 2010, p.83]

Once again, Daschanel demonstrates a deep understanding and irony-free love of innocent, old-school pop craft in her writing, but too many of the chorus hooks pass by without sticking, and aome of the stacked-up vocal arrangements sag under their own weight. [May 2010, p.102]

From a band as previously as stylishly provocative and adventurous as Goldfrapp, these knowing cliches and lush pastiches suggest a band playing it distinctly safe. [Apr 2010, p.88]

Although Autechre;a futristic manifesto has remnianed largely static for tow decades, the xylophone massacre of "O=0" and trippy space-carnival collage "d-sho qub" provide welcome glimmers of pleasure and humour during an otherwise rigorously intellectual labraroery experiment. [Apr 2010, p.81]

Though featuring young musicians, this album is antique rathe r than groundbreaking in feel, pleasing evoking a sweet, after hours blues cellar fug, all slide and sax. [May 2010, p.83]

Rarely has the deep past sounded so stirring, or so modern. [Oct 2009, p.94]

Putnam's songs still walk a fine line between brittle psychedelia and morosely tuneful pop. But there's a wrinkle in their textures, courtesy of a new rhythm section of bassist Be Hussey and drummer Stevie Treichel. [Jun 2010, p.97]

Intriguing, enigmatic and one of a kind. [May 2010, p.90]

This is a brief--a mere eight tracks, just under 40 minutes--but incredibly intense wall of sound. [Apr 2010, p.92]

Slowly, these immensely crafted songs bed in, emerging as some of the best and most accessible that Oldham has ever written. [May 2010, p.84]

"Say Valley Maker" and "Rock Bottom Riser" are hypnotic highpoints, but best of all is "Diamond Dancer," an incongruous slice of hillbilly funk on which he channels his inner Gil-Scott Heron. [Jun 2010, p.83]

The Big To-Do, it's pleasing to report, rocks as hard and loud as anything they've previously done. [Apr 2010, p.78]

The Replacements-inspired tattered intensity of the band's first two LPs is still present, but working with multiple producers has brought enough variety to keep the surprises coming. [Apr 2010, p.109]

The combo of an unadventurous set-list and cutting between several different shows makes Under Great White Northern Lights an oddly detached experience. [Jun 2010, p.111]

It's a smart collection of songs full of inner turbulance, delivered in an emotional voice that at times recall Guy Garvey. [MAr 2010, p.90]

Their albums have got better and better since 2005, with saxophonists Pete Wareham and Mark Lockheart entering into ever more engaging dialogues while the rhythm sections flail around inventively. Here Leafcutter John, who usually makes odd noises with a sampler, switches to guitar addng a clunky alt-rock feel to tracks. [Mar 2010, p.93]

There are wildcard influences--"Fire Lies Down" references English folk, "Warm Blood" moves into prog--that suggests Seabear could movie in many different directions. [Apr 2010, p.98]

There's so much tunefully wild enjoyment on offer it's hard to pick highlights. [Jul 2010, p.110]