But where Black Mountain's message begins to get woolly the music is never anything less than exhilarating

If anything, Jukebox is bolder than "Covers," not least because two of the more obvious songs have been dropped from the original intended tracklisting.

This is a stunning album, bristling with astute and funny words, glorious tunes and delivered in performances all the more impressive for sounding so utterly effortless. [Mar 2008, p.80]

If you wish The Hold Steady didn't look so clean, this is the band for you. [Aug 2008, p.113]

A sugary feast for the senses. [May 2008, p.98]

This is scant compensation for his lack of fire, lyrical inspiration, or indeed anything that might distinguish him from his legion of peers. [Mar 2008, p.85]

Evangelicals sing of skeletons, snowflakes and things that go bump in the night with witty samples and imaginative arrangements. [Mar 2008, p.87]

It's pleasing to come across a record that not only sounds old-fashioned, but whose author seems like a man of principle. [Nov 2007, p.108]

His willingness to scribble over the pretty surfaces of his songs brings a bristling edge to his Beatlesque pop. [Feb 2008, p.79]

He may be treading water a little until he really gets into his groove as the 21st century Sondheim, but Distortion at its best is beguiling and quietly devastating.

Liverpool 8, which stands happily beside Starr's recent hits compilation, holds its own as a companion piece to McCartney's similarly vital "Memory Almost Full," and makes a nice day off from having to like Radiohead.

Her lyrics lack both Wino's wit and realism, and her orchestral-pop backdrops are pallid. [Feb 2008, p.89]

Angels Of Destruction sounds like one almighty road trip, barrelling along to piano. blustery guitars and the odd honk of E Street sax. [Feb 2008, p.86]

This simply sounds like junior Jay-Z. [Mar 2008, p.96]

On record at least, Wu-Tang have made the comeback of the decade.

This live set sees them mash the Kraftwek-ed likes of 'Aerodynamic' and 'Robot Rock' into the girlfriend-on-your-shoulders set that's seen them own 2007's festival season, at least for anyone more interested in decks than guitars. [Dec 2007, p.89]

It might be playful, and it might be versatile, but however light-hearted it may sound initially, it ends up sounding serious.

Her music is similarly annoying, with her sugar-fuelled rockabilly-pop, she's the female Jack Penate. [Jan 2008, p.93]

Shelter From The Ash displays some pretty wigged-out guitar work, but balanced by ruminative, minor-key acoustic moments that recall the mood of America's "Horse With No Name."

Gorillaz' second round-up of offcuts, noodles and sketches still has an excellent strike rate. [Dec 2007, p.84]

Here they often come across as Hard-Fi playing the songs of The New York Dolls--infinitely more irritating. [Nov 2007, p.104]

More organic than their 2004 debut, Parades is just as richly rewarding. [Nov 2007,p.98]

If you’re willing to overlook Simon Le Bon’s always peculiar lyrics and occasionally strained singing, 'Red Carpet Massacre' is actually pretty impressive.

System is like travelling backwards to a time when Trevor Horn and Steve Lipson ruled the earth, except this time the studio overlord is Madonna collaborator, Stuart Price. [Jan 2008, p.100]

This seems geared for maximum market penetration rather than songwriting excellence. [Jan 2008, p.91]

A collection that aims to sweep up the moments when the spotlight isn't on, Sawdust, therefore, might just be their defining document [Jan 2008, p.91]

Commissioned by Nike as an exercise mix for iPods, this euphoric, largely electronic set finds Murphy adapting DJ dynamics for the running machine.

With his delivery having reached comfortable cruising altitude, this is an effective reminder of what success is about--leaving the hustle behind. [Jan 2008, p.91]