Apostle Of Hustle have now all but abandoned the Cuban mores of earlier albums in favour of a lean, bass-driven powerpop. [Sep 2009, p.79]

His tunes have taken a tougher, more urban tone, with stand-outs 'The Turtle' and 'Basic Mountain' building to hard edged concrete peaks, drenched in acid Rephlex bleeps. [Jun 2009, p.85]

Instead of idling into wry balladry of the later works of their obvious idols The Replacements, which would have suited Green Day well, they've affected the airs of Serious Artists. [Jul 2009, p.88]

Earle also seems acutely aware that it’s impossible to forage deeper under the skin of these songs than Van Zandt did himself. But he’s able to summon the same air of desolation and disquiet by other means.

There's nothing here as good as 'Nosebleed,' the standout from 2007's "Our Earthly Pleasures"--but there are still some good points here. [Jun 2009, p.92]

The second album of their third coming aims for the spontaneity of the early recordings, pushing those buried melodies to the surface. [Jul 2009, p.93]

Songs like 'Turkey Sandwich' are nothing new, exactly, but win out on guts. [Jul 2009, p.91]

Despite being her most superficially conventional work to date it may be her most slow-burning, with less of the bricolage charm that distinguished the earlier work. [May 2009, p.89]

The Spinning Top, a really very enjoyable record, displays some of the finest aspects of the guitarist’s talents, but chief among them, those that pertain to Coxon the folkie, and acoustic guitar stylist.

A stunningly audacious second album, inspired equally by prime Prince and film soundtracks, and reminiscent of Jane Siberry's prog-pop ambition circa "The Walking." [Jun 2009, p.103]

High art, low humour and deluxe filth: a hugely seductive combination. [Jun 2009, p.95]

With Spoils, Alasdair Roberts has delivered his finest work to date. [May 2009, p.95]

The resulting LP is a shambling, intermittently engaging sprawl, the songs jammed with verbiage, the lead vocals spread among the principals, most of whom make Oberst's frayed, wobbly singing seem Bono-esque by comparison. The LP's saving grace is the dexterous playing of the ensemble. [Jun 2009, p.95]

On the fifth album this East Coast trio make it patently clear this is not the same band whose 2005 debut placed them in the rustic shadow of former Young God Records labelmate Devendra Banhart. [Jun 2009, p.83]

Against considerable odds--'Cause I Sez So is a bit of a hoot. [Jun 2009, p.95]

There's still a stertility to their sound on this third album, but laced with sax, treated guitars and memorable choruses, it ranks as their best. [Jun 2009, p.109]

The quintet's transformation from schlocky garage urchins to ambassadors of thrilling new-wave can largely be attributed to Portishead's Geoff Barrow, who, alongside Chris Cunningham, produced "Primary Colours," uncovering a formidable band beneath the haircuts. [Jun 2009, p.86]

The suspicion remains, though that heavy cosmic rock is probably the best vehicle for his apocalyptic romances. [Jun 2009, p.99]

Theirs is a sophisticated, finely nuanced sound, lynchpin Aaron Turner's vocals notwithstanding. [Jun 2009, p.88]

Grey Britain builds upon its predecessor without diluting any of its rabid energy and grinding, oppressive negativity. [Jun 2009, p.86]

This collects all that, plus demos and live tracks, into a demonstration of how a fabulously obscure Glasgow indie group became one of the most influential of their time. [Jun 2009, p.105]

He's lost his way a little bit here. [Jun 2009, p.109]

This follow-up finds them flitting dynamically from royal Trux-ish fuzz blues to incantatory pieces like 'Shells,' that cross "Experimental Jet Set"-era Youth with Nico. [Jun 2009, p.92]

A Ways Away is a beautifully low-key set that frames her mellifluous voice and folky asongs with guitar drones and a slow-motion, dream-like feel. [Aug 2009, p.98]

Singer Orlando Weeks' new themes of intimacy and dependence, add emotional scope to a band blossoming from their spindly beginnings into a meaty prospect capable of doing goth XTC, jolly Joy Divisiion, and sword-dancing Strokes. [Jun 2009, p.92]

Classic pop songwriting with a twist is the order of the day, with watertight barbershop harmonies spooned onto layers of intricately arranged organ, while lyrics are unabashedly lovestruck. [Jun 2009, p.93]

There's a winning way with '70s soft-rock chord changes, but his staggering lyrical banalities makes most of this virtually unlistenable. [May 2009, p.89]

It's rich, beguiling stuff. [Mar 2009, p.78]