This cosmic suite evokes a steamy union between Vangelis and Santana, and is Lindstrom's strongest work by far. [Oct 2008, p.96]

Wainwright’s vocals imbue the material with a mixture of world-weariness, compassion and delight, qualities that didn’t loom large in the emotional lexicon of his younger self.

A Beautifu;l record. [Feb 2009, p.88]

It contains some amusing satires, some witty observations about the degeneration of rap and some why-oh-why philosophising. Some beats are a little dated. [Dec 2008, p.94]

If you've already worn out your copy of "Stay Positive," this is surely your next stop. [Jan 2008, p.94]

Her creamy voice canters over deft fingerpicked guitars and celtic violin throughout the rest of the album, and although the heights of the aforementioned song are barely hinted at elsewhere, Marling’s promise--she’s just 17 years old--is as clear as spring water.

While he doesn't quite kick like he used to, Weaver's lugubrious voice and ear for the creepiness inherent in old-time folk make for an engrossing listen. [Sep 2008, p.98]

For all their faults, The Levellers will happily go where other feat to tread. [Sep 2008, p.92]

It’s proof that, when he escapes from awkward, self-conscious navel-gazing, Oberst can be a songwriter of some note.

Newman is at his most affecting when he plays it mercilessly straight: his flickers of sincerity all the more beguiling for only appearing rarely.

A blend of delicate, hypnotic electr-folk and pulsating prog--a tantalizing treat. [Sep 2008, p.99]

TATE's debut touches on Stooges garage rock, sultry blues, Strokesian pop, all swaddled in opulent Americana. [Mar 2009, p.87]

Vandervelde's second album only really hits its stride in the six-minute centerpiece 'Someone Like You.' [Oct 2008, p.114]

Toth's chimeric qualities are still evident. [Oct 2008, p.113]

Alice delivers his best album in decades. [Oct 2008, p.83]

Oh! Mighty Engine is typically whimsical, low key and surprisingly touching (when you can make out what he is singing). [Oct 2008, p.90]

The chilly disco-noir aesthetic of early 1980s synth-pop provides the musical hinterland, all monophonic squelch and analogue modernism. [Aug 2008, p.85]

Occasionally they break from formula, but the tired beats and repetitive rhymes ensure Double Bubble would have even a Full Moon Party shaking their heads. [Sep 2008, p.104]

This long-awaited follow-ups sees them improvising live as a quintet, with a few overdubs. [Sep 2008, p.100]

Subtract [a couple of stinkers] and you have something of a minor masterpiece--and easily Weller’s finest solo album to date.

Life Processes sounds like mice playing Hundred Reasons covers. [May 2008, p.95]

There's some interesting things going on here.... Sadly, Bernard Butler's production often feels thin and tinny, which isn't just sad, but avoidable, too. [Aug 2008, p.92]

Two years of constant touring, countless festivals, a loss of a member (bassplayer Ira) and the addition of Gwen Stefani's producer, and something's gone awry.

Dr. Dog have stepped up to the plate for the fifth album and hits a homer. [Sep 2008, p.88]

Canning's default setting is a distorted, drone-laden, melodic indie rock that recalls My Bloody Valentine or Sonic Youth, but he also goes off on some interesting tangents. [Oct 2008, p.81]

It’s too blunt, messy and reverent to be up there with their best, but you hope that it also serves a secondary function: to clear the decks for one last magnificent tilt at rock deification on album number ten.

Staggeringly good.

Their first album without guitarist Bruce Gilbert draws on their strength as writers of nuanced pop, producing, in the mellow rumble of 'One Of Us,' 'Mekon Headman' and Perspex Icon,' a few more for the next Best Of.