It's mostly beautiful, and very civilised. [Oct 2008, p.81]

It's every bit as good as their debut. [Nov 2008, p.109]

Depending on which Paul McCartney you like the most, you may or may not like what he’s done. But the best thing about Electric Arguments is that it sounds like the work of someone who doesn’t give a stuff what people are going to think. About time, too.

The lo-fi production makes everything sound like an unfinished demo, the songs are largely forgettable and the AutoTune’d vocals become a little tedious.

This is a "Talk Of the Town" of the mind, and he is clearly in his elemnt. [Dec 2008, p.100

Here Scott Weiland lets off steam in grand style. [Feb 2009, p.101]

It's an impeccably tatsteful tribute to their record collections, though mystifying they can find no room for anything by The Cure. [Jan 2009, p.114]

Even when the songs feel light, when the stylistic havoc and production is almost absurd, you have to admire the glorious gall. [Dec 2008]

On 'The Colour Of Three' and 'Glide,' Fennesz once again proves himself a match for the Kevin Shields of 'To Here Knows When' or "The Coral Sea." [Feb 2009, p.80]

Certainly enough to impress the judges. [Jan 2008, p.93]

The result is a twilight world where Robert Wyatt and John Coltrane rub shoulders with Why? and Vernon Elliott. Mad, but quite magical. [Dec 2008, p.81]

Soundwise, Chinese Democracy is all over the place.

Sugar Mountain is a fascinating snapshot of Neil Young at a transitory moment in his long career, for which it also provides an indelible template.

Ramshackle, out of tune, fey and frail, not yet tightened by Trevor Horn, these tracks capture the essence of this band's particular genius. [Dec 2008, p.83]

Sunday At Devil Dirt inhabits the same scorched earth, but is a more confident record. Ironically, this confidence manifests itself in an understated vocal performance from Campbell, leaving the spotlight on Lanegan’s dusty baritone.

As the lounge-like 'Will Get Fooled Again' segues into the glitch-funk of 'Orphaned,' you'd have to concede it's a fine idea. [Nov 2008, p.120]

This is different (from his last studio album) again, the rhythms of Afrobeat now cleved to an ambitious jazziness. [Dec 2008, p.100]

As with their third album, Can and Silver Apples are referenced, but there are additional moments here to please fans of both Terry Riley and Battles alike. [Dec 2008, p.94]

The music is classifed as country, but it's really clinical pop, enlivened by Swift's confessional lyrics. [Apr 2009, p.101]

Larry Klein places the vocals disconcertingly high in the mix, but it effectively emphasises Chapman's poetic sensibility. [Dec 2008, p.86]

If nothing can quite replicate the excitement of hearing these songs for the first time, the first disc of this double-CD set makes a good job of restating the importance of The Smiths as a singles band.

For some of the mercifully brief 33 minutes and 43 seconds of this album there is some merit in the messiness of this L.A. four-piece's palette of punk powerchords and sustained hoarseness. [Jan 2008, p.88]

Here childrren's voices, crazed yelping, psych-surrealism and Jesus freakouts combine to create a phantasmagoria that is fun, disturbing, inspired and childlike all at the same time. [Jan 2008, p.90]

It's a perfect match with producer Richard Hawley, who here channels his love of epic reverb pop to more interesting ends than on his solo albums. [Dex 2008, p.86]

All round, this is filled wiith pleasant rather than memorable tunes. [Oct 2008, p.113]

The Renaissance offers a compromise between the rootsy East Coast rap he helped to define and the LP you imagine the label wanted. [Jan 2008, p.111]

It's nimble stuff, but the most moving contribution comes from the late Buck Ownes. [Jan 2008, p.104]

Ambitions here, you feel, do not extend far beyond ‘a good time, all the time’-–it’s probably telling that the band name derives from a cocktail lounge on Sunset Boulevard-–but then, Moretti probably wouldn’t want it any other way.