Red Light is a sturdier, more rocking affair (relatively speaking) [than their debut]. [Jul 2012, p.94]

Matsson's third LP is a wide-eyed exercise in water testing, adding counterpoint and pathos to his road-worn sneer and elegiac melodies. [Jul 2012, p.100]

It's not as abrasive or confrontational as previous efforts, but Worship nevertheless shimmers with a defiantly bleak edge. [Jul 2012, p.90]

It boasts some of Avary's most concise songwriting to date and a self-confident, unfettered vibe that's invigorating. [Jul 2012, p.89]

It's certainly a progression for Metric, but it's an evolution whose emotional honesty--and sonic depth--are rewarding and affecting. [Jul 2012, p.94]

His fifth solo album calls on both his folk and roots-rock experiences, in a bold yet familiar transition for the seasoned performer. [Jul 2012, p.98]

Come for the rock, but stay for Falkous' sarcasm-dripping bon mots. [Jun 2012, p.881]

The band's fifth studio album mostly keeps the BPMs brisk and retro-minded programming colorful. [Jul 2012, p.94]

The overall effect is of a 21-century Mighty Lemon Drops, but there's certainly something to be said for a Heaven comprised of such modest glories. [Jul 2012, p.100]

What stands out is how Crocodiles have lightened up, embracing everything from grrrl-group alt pop to deliciously spacey new wave. [Jul 2012, p.90]

The disparate pieces of Melvins Lite don't quite line up. [Jul 2012, p.98]

Generals replaces Fire's starched chamber-pop pretentions with airy vibrancy and eclecticism that continually surprises and entices. [Jul 2012, p.100]

Lex Hives redeems them for their previous missteps and their truancy. No skits, no instrumental in-jokes: just rock. [Jul 2012, p.90]

"Continuous Thunder" is a sensitive parting shot, and cements Celebration Rock's emotional depth. [Jul 2012, p.98]

The Australian five-piece dismiss any notion of a sophomore slump. [Jul 2012, p.100]

On any other Walkmen album, just the hooky brilliance of the title track could be enough to declare this set a success, but there's never been one quite like this before.

Each track is different from the last, yet the album maintains a cohesive identity. [Jun 2012, p.76]

Three MVPs plus one vision equals one of the year's best. [Jun 2012, p.84]

The results are extraordinary. [May 2012, p.79]

Despite the obvious problems with continuity and flow (not to mention the general concept of time, as in the amount of actual time it takes to comb through 99 tracks), there's still a lot of good music on Occupy This Album.

The biggest failure of This Is PiL, sadly, is the band's centerpiece: Lydon. As fine as he can be (see again "Deeper Water"), he sounds downright unhinged. Not in the puckish, sinister way that made PiL live albums so bracing, either-no, his work here sounds tossed off, and too often just plain off.

While not a major departure, Valtari adds a fresh, ghostly layer to Sigur Rós' slow-motion sprawl.

Fire From The Sky is another compelling addition to their catalog. [Jun 2012, p.84]

overflowing with slick hooks and dynamic nuances, Twelve Years masterfully balances cathartic restraint and melodic aggression. [Jun 2012, p.80]

...ya know? manages to maintain a cohesive sound despite its disjointed source material.

Even if it's probably not a classic, it's still pretty damn solid. [Jun 2012, p.81]

On Sunshine and a handful of others, she's M.I.A. protege in Kala mode; elsewhere, she's been "optimized" for a climate more partial to Nicki Minaj. [Jun 2012, p.84]

The humor practiced by Black and cohort Kyle Gass hasn't evolved much since [2008's "Pick Of Destiny"]; Fenix is loaded with classic-rock-aping material which simultaneously admires and lampoons everything from Star Wars ("Deth Starr") to organized religion ("Throwdown").