In Gareth Liddiard, the quartet have a singer-songwriter and guitarist of dark intensity, and his vivid narratives draw on the landscape and character of his homeland in a delicately melancholic way. [May 2009, p.85]

Although less exhausting than their debut, "Terrific Sounds," this remains an attention-demanding record. [Apr 2009, p.101]

To Be Still is a quantum leap from its predecessor, and one which establishes Alela Diane as a significant figure in contemporary Americana.

This one is more bluesy and soulful, a kind of semi-protest record that takes stock of post-Bush USA. [Mar 2009, p.88]

This is the polite, less freaky end of modern American indie folk: earnest, well-intentioned, Obama-fundraising, National Public Radio-supporting... and cumulatively a little dull.

Ferree's insistence of shoving everything right up front in the mix, all the time, becomes wearing, but you can't fault his enthusiasm. [Jan 2010, p. 110]

Mountains' skillful manipulation of texture and space creates a sound that stealthily envelopes you like an Appalachian fog. [mar 2009, p.92]

Belatedly, it turns out to be great: seven prescise, insurrectionist ramalams that somehow fit somewhere between the MC5's high Time and Dead Boys' 'Sonic Reducer.' [Mar 2009, p.82]

If once she was sweetly sardonic, now she sounds utterly bored, and collaborator Greg Kurtsin hardly helps with an anodyne synthpop production that makes excruciating excursions into rawhide country, pallid polka and Bontempi showtunes.

It is an album in the original sense of the word, offering a coherent display of Auerbach’s influences.

American show "Saturday Night Live" has a tradition of creating comedy heroes we don't quite get in the UK. Alongside Adam Sandler and Will Ferrell we can add The Lonely Island--essentially Flight Of The Conchords with more sperm jokes. [May 2009, p.91]

Emmy's startling pure voice is a vehicle for some smart, candid and subversive lyrics. [Mar 2009, p.87]

Here they continue their mission with bashes at Wilco, Pink Floyd, and a straight-but-great take on Yes' 'Long Distance Runaround.' [Dec 2008, p.81]

Not only a radio-friendly unit-shifter, but also a bona fide guilty pleasure. [Mar 2009, p.85]

It’s earthy and it’s eloquent--no doubt Willie will approve.

His own production work has been inconsistent. [Feb 2009, p.78]

All round, an unsettling development. [Jun 2009, p.109]

Kweller keeps his melodies clean and his arrangements simple, frequently teaming pedal steel or dobro with his acoustic guitar. [Mar 2009, p.91]

Sea Sew is a subtle and intricately woven set of songs that seeps further into you with every listening. [Sep 2009, p.84]

There's some good stuff here. [Mar 2009, p.92]

Intriguingly odd in small does, Wannerstrom's cheerless, unschooled voice and rudimentary guitar chordings can get mighty oppressive over the course of 50 minutes. [Feb 2009, p.82]

Their sound is an accident born of naivety, but their unabashed love for '80s indie is unmistakeable. [Feb 2009, p.89]

A Fool For Everyone proves Bones can write a song or two. [Apr 2009, p.80]

Treasury Library Canada feels less whimsical and more polished, although Hamilton still sticks closely to his signature mix of rich acoustic chamber-pop arrangemnts and quietly barbed lyrics. [Mar 2009, p.107]

A late flowering triumph. [Jul 2010, p.117]

The thick broth of Kyle Falconer's Scots vowels remain the signature sound--but don't let it distract you from some genuinely adventurous and witty indie guitar rock. [Mar 2009, p.107]

For all their adroitness, most of the songs on Tonight sound too similar to each other (and to existing Franz Ferdinand songs).

An existentialist’s song cycle, Vacilando's grim, lonely songs reinforce each other with an impeccable internal logic, fashioning its own little world-weary universe, wherein less is more, simple guitar strums signal seismic shifts in mood, shadows bump into one another.