Different Every Time is a two-CD overview illuminating Wyatt's strengths as a musician, politically outspoken performer, singer, bandmate, leader and composer. [No. 116, p.61]

Both [At Saint Thomas the Apostle Harlem and All The Way] elicit a simultaneous sense of terror and wonder as to what demons are flowing through her bloodstream and how she's managed to harness them for the power of artistic good. [No. 141, p.57]

Song after song hurts in that oh-so-right way. [#54, p.89]

The Moon And The Village is another subtle charmer. [No. 149, p.57]

Both [At Saint Thomas the Apostle Harlem and All The Way] elicit a simultaneous sense of terror and wonder as to what demons are flowing through her bloodstream and how she's managed to harness them for the power of artistic good. [No. 141, p.57]

Ultimately attains genuine staying power. [#68, p.108]

Only confirms the Belle And Sebastian comparisons this Australian band has endured throughout its seven-album career. [#69, p.100]

Income inequality and class warfare, intolerance and love--arguably the heaviest subject of all--are dealt with firmly and frankly, couched in Phillipps' timeless, jangly melodies. [No. 126, p.52]

Boot! goes back-to-basics in terms of lineup and material, but sounds heavier than ever. [No. 105, p.59]

Organically crafts sounds that are reminiscent and yet uniquely its own. [No. 141, p.57]

It's a darker, more nuanced album, and Jones, now 37, sings with more depth and soul than she did in her youth. [No. 136, p.54]

It's a tossup as to how much of Conn's shtick is a put-on, but when the music's this good, that's a moot question. [#75, p.94]

The Gossip keeps getting better, stretching a little more. [#59, p.95]

I Am A Problem still explores texture and discomfort like Wolf Eyes always has, but now have riffs. [No. 126, p.60]

One of Molina's strongest, most interesting records yet. [#73, p.96]

It certainly stands among his best. [No. 105, p.60]

My Bloody Underground is yet another experience of the stripe only Newcombe can sculpt. [Summer 2008, p.99]

Waves of corrosive guitar distortion surfing minimal, hammered eighth-note bass and programmed beats, with just enough feedback to aid recollection of the band that created Psychocandy. [No. 141, p.59]

Think a minimalist A Tribe Called Quest. [#60, p.110]

They whip out churning rock tunes with burning guitars and solid hooks, switch things up with softer, melodic ballads, and evoke the glory days of Southern rock with impressive ease. [No. 136, p.53]

Songs To Play sounds musically assured, but it's that double-edged sense of humor that proves that Forster is truly back. [No. 124, p.54]

Morrissey regains his knack for conversational hooks and his wry, literate sense of humor. [#71, p.105]

Though only mildly collaborative, II us just as thrilling as many of Segall's finest works. [No. 126, p.57]

A record that blows up like a supernova and runs the dinner-jacket nobility of its predecessor through a wood chipper. [#59, p.96]

These are brooding songs of love and loss and life, music for gown-ups in the best possible way, music for people who've lived. [No. 126, p.57]

It's full of loose sing-alongs, drunken chants and spooky ballads; of apocalypse, synicism and Satanism; of a jaded worldview that joyfully sees everything as --in the words of the opening track--"Dark dark dark." [Fall 2007, p.102]

Be Small connotes acceptance of the intimacy Temple can't seem to breach. [No. 126, p.57]

Master producer J. Robbins deserves some credit for the band's audibly broadened horizons. [No. 94, p.60]

Knopfler inhabits his tunes with an earnest intensity, a slight melancholy and an age-old wisdom. [No. 118, p.57]

Each soft, slow hymn to the darkness makes the band's beauty more pronounced. [#51, p.102]

Tyler's command of his instrument is commendable, but his ability to use it for a compelling, lyrical collection of instro cuts is even more so. [No. 96, p.60]

Junto is a jolt, a juggernaut, an absolute joyride. [No. 112, p.53]

The fantasy and the fantastic continue, and his soft sculptural Dadaist lyrical sense of romance will always go with DevBan's trembling, lilting melodies like cheese and chocolate. [No. 136, p.53]

By keeping the songs a little shorter, and by bandleader Gustav Ejstes not being such a musical ball hog this time around, Dungen has made a record that’s far more sophisticated musically and melodically.

The tunes here are understated. The atmospheric arrangements give the material a feel that's more reminiscent of empty bedrooms than smoky barrooms. [No. 141, p.55]

Untethered Moon is almost undeniably a classic slice of BTS. [No. 119, p.51]

It sounds like a war against music. [#60, p.97]

Seekers And Finders is the straight cannonball the world's premier Gypsy punks haven't quite offered since 2005's Gypsy Punks: Underdog Wold Strike itself. [No. 145, p.55]

Everything about the resulting album elevates what could've been a gimmicky lark into something affecting. [No. 136, p.53]

The songs work as robust individuals, as well as in the dynamic context of the album's sequencing; up-tempo rockers connect with sparse 'n' sullen twangers. [No.91, p.53]

His most emotionally expansive record. [#59, p.101]

An impressive mix of high and low art, Local Business is at once outsider, mainstream, universal and massive. [No. 94, p.61]

Blonde Redhead's early sound, however, can be tough grasp as an "artistic" aesthetic sometimes derails the excellent juggling of downtown noise and heads-down rock of the band's more focused moments. [No. 136, p.53]

The music carries you along, building to a very gradual crescendo that feels like Popol Vuh stretching out one Phil Spector moment for three-quarters of an hour. [No. 118, p.53]

For all his anger, the most convincing songs on Washington Square Serenade are about love, devotion, messing up and simply wanting to be heard. [Fall 2007, p.93]

O'Neill's voice is so perfectly suited to the material that you can hear single spour forth like rain. [#56, p.109]

Music to take drugs to. [No.87, p.52]

Howdy is vintage Teenage Fanclub. [#53, p.92]

3rd is somewhat overstuffed at 18 songs.... But it's still an ideal soundtrack for the dead of winter, when you're pining for pitchers and catcher to report, or when your team's out of the race by the dog days of August. [No. 108, p.54]

Lasting impressions: Unlike sophomore clunker Room On Fire, you'll still be listening to First Impressions in two years and probably digging it even more. [#71, p.113]

A rewarding, cohesive and climactic experience. [#54, p.88]

Fear not, this is a kick-ass rock'n'roll record all the way around. [No. 146, p.61]

Tweedy is a certified master of the simple, effective melody--time and again, he's built something grand from the pieces of something small, and trace evidence of this trick is splattered all over Schmilco. [No. 136, p.60]

It's bold, colorful palette is wider and more enveloping than in the past. [No. 107, p.53]

Less, in this case, proves to be much more; Jurado's songs just cut closer when unadorned. [#58, p.95]

The members of The Cave Singers seem intent on scraping away their previous bands' noise and bluster to find a music that's no less nervy and riveting. [Fall 2007, p.92]

[An] impressive debut. [#71, p.87]

These songs benefit from Gundersen’s past, yet leave hope (some of it, at least) and genteelness behind in a cloud of ambient smoke. Good. [No. 123, p.59]

An overview with passionate, vibrant performances, Disconnected In New York City shows the band's history, talent and diversity with heartland rock, folk excursions, shuffling R&B and inevitable Latin rave-outs from many different points of its amazing career. [No. 104, p.58]

The duo [Marc Almond and producer Chris Braide] unspools deliciously theatrical (eerily dark) piano etudes and grand, minor-key mini-epics that are the musical equivalent of an Oscar Wilde work. [No. 118, p.53]

Another step in Hood's continually compelling sonic evolution. [#52, p.89]

This is Wareham doing what he does best: making music he loves with people he holds dear. [No. 107, p.60]

This return to form annotates the band's last 22 years rather nicely. [#73, p.110]

The result is another set that perfectly captures the scruffy energy of its live shows. [No. 133, p.55]

Jumping The Tracks is a most welcome return to the glorious gloom the group has cultivated from the very start. [No. 107, p.56]

As confusing as it is ultimately compelling. [#61, p.89]

This Invasion manages to be not only a perversely unique look at the Doors' cabaret rock but also makes for a catchier Coral. [#69, p.91]

This is easily her fullest-sounding, most animated record to date, dense with layers upon layers of sound... and copious multi-tracking of Marshall's intimate, elusive, dispassionately soulful voice, which is richer and more versatile here than ever before. [No.91, p.51]

These songs, as punchy as ever, don't lean quite so heavily on unhinged, whiskey-soaked abandon. [No. 107, p.57]

It glides along with the same humid grace that made 1997's If You're Feeling Sinister a bedsit classic.... wonderful, sweeping songs. [#46, p.68]

It's a record best described as 13ghosts' illegitimate lovechild with Captain beefheart. [No. 133, p.57]

Sure, Pocket Radio is quirky... but that's what pop is about in the 21st century. [#50, p.94]

You can dance to almost anything here, but between breaths, you'll marvel at his control and the way each sound pops like a primary color. [#67, p.104]

It's positively full of life. [No. 118, p.56]

Often, there's a subtle, troubled uncercurrent that pulls the cheer back when it threatens to turn saccharine. [#52, p.103]

Basically, he's Bob Dylan in a hoodie. [#59, p.98]

She brings the art school to the dance floor in non-corny ways. [No. 112, p.57]

The most mature and cohesive set of songs in Ward's catalog. [#73, p.109]

Don’t fetch the gurney just yet. Seems Buffalo Tom still has a few good ones left in ’em.

On record, the Constantines' contemplative songs have always fared best, and Tournament is an album almost full of them. [#69, p.92]

Gone are the moments of meditative brooding that made up much of Quarter, replaced here by a bold, tenacious resolve across eight taut, meticulously detailed tracks. [No. 133, p.59]

It's as if SDRE was trying to make every album it thought Rush should have cut after Moving Pictures - simultaneously dark, textural, riff-based and cliche-free, yet filled with the sort of sweeping gestures and lofty arrangements you usually find in vintage prog.

Accelerator is the most focused album Royal Trux ever made. [No.92, p.57]

Regeneration is pretty, clever, meticulously planned and tastefully executed.

The entire thing was tracked in just four days, and the pent-up, wind-tunnel sound and throat-shredding vocal runs that drive its 11 tracks reflect a renewed sense of urgency. [No. 133, p.61]

Deacon possesses the rare ability to tweak the conventions of his chosen mode of musical expression while expanding them into a distinctive style signature. [No. 118, p.55]

It's all gorgeous arrangements, soul-wrenching songwriting and heartbreaking stories, inhabiting a space that's both rock and country, indie and folk, without pandering to the lowest common denominator. [No. 96, p.59]

Sounding like a cross between Explosions In The Sky and Blade Runner’s director cut, No Man’s Sky may be the backing track to an untenable make-believe world, but it’s also an example of the vast and powerful reach of well-placed series of notes. [No. 133, p.61]

Seeds finds an adventurous art-rock band embracing accessibility. [No. 116, p.60]

It's four-on-the-floor disco that thumps its way through this polyphonic orchestral funk like a bully. [#51, p.92]

A glittery and effervescent package. [p.55]

As good as IN///PARALLEL is, Harrison leaves you curious to hear how much greater he can be when he really lets loose. [No. 147, p.55]

Casts Yoshimi as a manic priestess espousing the various virtues of the universal religion of rhythm. [#69, p.105]

[It] sounds like the album Whiteman has been waiting to make his whole life. [#75, p.99]

The result is classic Blondie, the band's best album since it reunited--maybe its best ever. [No.142, p.53]

Musically, Fox fulfills the wish list of fans who've waitied for new material since 2002's Blacklisted. [#71, p.89]

Doesn't quite reach greatness, but it grows and changes with every listen... [#46, p.92]