Earle's narrative is compellingly singular, and the musical variety feeding his fiery and thoughtful tunes well measured. [May 2013, p.85]

This is the best Wire album of this century. [May 2013, p.84]

Sometimes, as on Domina, the mood is almost singalong, but much of the album, including the title track is sublime. [May 2013, p.84]

MBV is no great leap forward, though it's still aeons ahead of its 21st century competition. [Apr 2013, p.98]

Suede sound like Suede again. [Apr 2013, p.97]

Voivod have again recorded something that will appeal to those with an open mind. [Apr 2013, p.96]

While wonderfully idiosyncratic, Oddfellows finds them at their most accessible to date. [Apr 2013, p.95]

An instant classic. [Apr 2013, p.94]

There's enough here that's new to renew your love of Hendrix. Yes, there's blood in the stone yet. [Apr 2013, p.94]

BRMC have transcended a past that was extremely full of the past and arrived in the present. [Apr 2013, p.93]

A vintage Bowie album for vintage Bowie people, of whom there are many; a reflection on his own journey and also on ours. [Apr 2013, p.92]

Not only have the Bad Seeds delivered another healthy baby, but perhaps the most gracefully beautiful of the whole brood. [Mar 2013, p.98]

Big? Nope. Clever? Definitely. [Mar 2013, p.98]

Lush and romantic, Evidence is the kind of timeless electronic album you can dream inside. [Mar 2013, p.98]

There's a familiarity to much of the material which, while not quite formulaic, does sometimes hint at self-reference, brazenly so on Tears Don't Fall (Part 2). [Mar 2013, p.97]

Concise, clever and at war with everything from alienation to greed and loss, it's a rallying cry in a world that's lost its voice. [Mar 2013, p.97]

This knuckle-biting howler ["The Season's Upon Us"] aside, SASIB raises the roof with good vibes and memorable songs. [Mar 2013, p.96]

A bona fide, big, stadium-pleasing epic. [Mar 2013, p.95]

Mostly, it's an invigorating set that sounds, like a cubist marriage of King Of Limbs and Eno & Byrne's My Life In The Bush Of Ghosts. [Mar 2013, p.95]

Electric is a return to one of his best attributes, the snarling electric guitar. [Mar 2013, p. 95]

My World Is Over proves to be another step up. [Feb 2013, p.95]

Kudos to Pure Love for taking a ludicrous concept of comedy commercialism and successfully straightening its face. [Feb 2013, p.95]