'The Tipping Point' is typical of the album as a whole, a rush of hoe-down guitars and echo-laden drums topped off with a half-yelp of a vocal that recalls a slightly more unhinged Jack White. [July 2008, p109]

A superb new Fall album.

The album works as whole--beginning with an eruptive blast of noise and ending with the gentle farewell that is 'Friend Of Ours.'

His best work transcends politics. Mr Love & Justice contains both he best and worst of Bragg.

No shocks here, but a laudably short and sharp effort. [June 2008, p.94]

It's safe to say this is the most endlessly playable comedy album of the new millennium. [May 2008, p.95]

On first listen, this follow-up is less impressive, but subtle melodies soon sugar the melancholy of 'Glory to the Owlrd' and 'Happiness Won Me over.' [June 2008, p.100]

If only all music was this fun. [Nov 2008, p.102]

Adhering to commercially fixated standards of production line R&B, E=MC2 charms soon melt away. [Aug 2008, p.87]

Saturdays=Youth is embarrassingly earnest. [May 2008, p.102]

Two years and two million album sales later- and minus raffish bassist Max Rafferty--their sugar-rush enthusiasm has dissolved almost entirely.

The truth is, this is actually rather safe music. [Apr 2008, p.94]

My Bloody Underground is the sound of someone geting My Bloody Valentine about two-thirds right, which is to say that while BJM can certainly conjure interminable, feedback-slathered drones, they lack Kevin Shields' gift for sonic invention or melody. [June 2008, p.83]

Reduced to aural bones, Gossip's live show in Liverpool last year still rocks, but in a diminished way. [May 2008, p.100]

Just Us Kids in part repeats the forumla, targeting SUV drivers, filthy corporations, and Dick Cheney, in an affecting but familiar preach to the converted. [June 2008, p.97]

The band has never sounded better, and Cave seems to have relaxed into the hysteria of his vocal style; like Elmer Gantry singing Leonard Cohen at a tent-revival.

Without Reznor's shouting, they're more hypnotic, even, at times, soothing. [June 2008, p.98]

Mountain Battles is marginally more polished than "Title TK" but it still sounds as if it was recorded in one take in Steve Albini’s toilet. A good thing, as it turns out. The intimacy of is what makes it precious.

This is an exciting debut.

Only on 'Time of Songs' do the Tapes sound more than just another bunch of collegiate slackers with cool record collections. [May 2008, p.111]

Main;y, though, we leave Clinic where we always find them: nervously pacing the room, waiting for something to happen. [May 2007, p.92]

Their approach is eclectic, esoteric, and not easy on the ear, though it does have a restless energy which suggests it might work better live. [June 2008, p.97]

It brims with psychedelic electro-pop of the most inventively buoyant and sweetly retro-futuristic kind. [May 2008, p.106]

At 15 tracks, it outstays its welcome, but in small does this is deliciously addictive. [June 2008, p.86]

Boo! has plenty of highpoints. [May 2008, p.113]

The second album from Cheltenham's The Duke Spirit sounds every bit the heads-down attampt at chart-bothering major rock album. Except, well, it's on an indie, and the tunes don't always match the band's stadium-echo ambitions. [Mar 2008, p.86]

St Jude proves that there is much more to The Courteeners than first meets to the eye.

In short, a glittering sign reading "business as usual"--even if it’s not a return to adventurous Kylie gold.