Return To Form's one of their better efforts. [Mar 2010, p.90]

As the title suggests, No Hope, No Future is rather short on vim. The wiry, Wire-y dynamics are mostly presnt and correct. [Feb 2010, p.86]

It invokes countless familiar sources--The Byrds, Ennio Morricone, The La's, The Doors, Joe Meek--but reassembles them in such an unexpected way that 500-year-old songs sound utterly fresh. [Feb 2010, p.88]

Guitar band goes synth' isn't going to stop any presses, but this new phase perfectly suits Editors well. [Nov 2009, p. 84]

This is the challenging, take-no-prisoners result, an audacious fusion of the reliable and the experimental, as daniel and Eno continue into the new decade a musical conversation as lively and uncompromising as that of Jack and Meg White. [Feb 2010, p.99]

End Times is not merely Eels' best album yet, but in the highest rank of breakup albums, something with the anguished fury of Ryan Adam's "Heartbreaker," sighing with the stoic resignation of Bruce Springsteen's "Tunnel Of Love." [Feb 2010, p.83]

Real Life... is a triumphant return to the dancefloor. [Feb 2010, p.90]

Coombes and Goffey undoubtedly had fun romping through "Queen Bitch," or tackling "(You Gotta) Fight For Your Right (To Party)" in the style of The Zombie, but you'll never play this album more than once. [Apr 2010, p.91]

This follow-up feels less homemade, but just as delicately adventurous. [Oct 2009, p.108]

The charms of this deceptively nifty record slowly revealed with each spin. [Feb 2010, p.107]

Guitarist Glenn Page appears to be channelling namesake Jimmy in his Yardbirds days, while the spot-on harmonies of "After You're Gone" suggest a live anthem in waiting. [Mar 2010, p.93]

When you live in Florida, it is summertime all the time, which might be why this Palm Beach quartet have developed such a seasonal vibe on their sun-spotted indie-pop debut. [Aug 2010, p.96]

Still present is a populist edge that, while occasionally somewhat saccharine, shakes out some great choruses. [Feb 2010, p.90]

Bold, beautiful and carefully contrary, it's an album by a band in complete control. [Feb 2010, p.77]

They clearly asked Dave Fridmann to produce for his MGMT work rather than his exploratory Mercury Rev backstory. It's well, OK. [Mar 2010, p.90]

Amid the cornball sentiments and bizarre arrangements elsewhere, here against the odds, a touching moment presents itself. [Mar 2010, p.96]

Pallett's pallid voice fails to dramatise the narrative or really engage the listener. As a calling card for future soundtrack commissions, however, it should succeed splendidly. [Feb 2010, p.84]

This is a vivid song cycle that's part ecstasy, part-sadness--but unfailingly lovely. [Jan 2010, p.119]

Rain is a fetching guitar-pop wonder, a melodic feastm blending vintage Marshall Crenshaw-like hooks with elegant, acoustic scenes-in-miniature. [Mar 2010, p.89]

It's a gruff set of semi-apocalypic country-blues songs with twangy guitar and all manners of noises. [Apr 2010, p.96]

The 23-year-old Valley girl's sonically lurid and brash, (supposedly) autobiographical debut may boast production heavyweights like Benny Blancoi, but her witless, cranked-to-11 stridency recalls Kelly Clarkson and Avril Lavigne rather than Pink or Britney. [May 2010, p.94]

All round, it's a remarkable electronic musicanship. [Apr 2010, p.124]

The effortlessly adroit songwriting on this, his second album shows why [in-the-know Kiwis have long talked up the talents of James Milne]. [Jan 2010, p.118]

They're back to tacky autopilot, forcing Sean C and LV to save face with two rousing contributions. [Apr 2010, p.84]

There's nothing here to rival "Drop It Like It's Hot", much less "gin N Juice", but the results are mostly harmless, even if that was never quite the point. [Jan 2010, p. 126]

What's absolutely consistent is Young's almost alchemical ability to mesmerise with the sparest of tools - his reedy quaver and sturdy but unflashy accompaniment providing the only embellishments to his elliptical lyrics and aching melodies. [Jan 2010, p. 120]

Waiting For You echoes something of The Bug's brooding, echo-drenched pressure, but where London Zoo felt dense, the likes of "Meltdown" have a beautifully spectral, washed-out quality, Robinson's sweet, soulful vocals weaving through the night in search of salvation. [Jan 2010, p. 118]

What Day Is It Tonight?--culled from 15 years of recording since 1993--captures their tight ferocity in full force. [Feb 2010, p.104]