While Prayer For Peace is the duo's seventh studio album, their rootsy sound remains more or less unchanged and identified. [No. 143, p.59]

The album's defiantly pop-punky first half touches on distance-challenged romance, self-care fails, siblinghood and her love/hate for the city of Perth--all with the characteristic witty, everygal charm. [No. 148, p.59]

This album, like its predecessor, is stunning. [Fall 2007, p.91]

He's all over the phrasing but never sloppily and always expeessively. [No. 141, p.52]

Some artists stimulate your brain, others tickle your senses. Matmos does both. [#50, p.101]

Their liveliest, most varied offering since their debut. [No. 128, p.57]

Hardly reserved for advanced listeners, End Times Undone is effortlessly familiar and fresh. [No. 112, p.57]

The coarse sonic atmosphere remains, but in nearly every other respect, the evolution is substantial. [No.95, p.56]

Kinks geeks will relish the autobiographical elements. [No. 142, p.54]

While his gloriously grizzled voice remains probably the most majestic instrument in the entire 21st-century retro-soul arsenal, and the Daptone mob mete out many more-than-serviceable grooves for him to rap atop, Changes offers no real shake-ups. [No. 130, p.55]

Standouts are so effortlessly and relentlessly infectious that it's impossible to think that Pujol didn't spend long nights spinning and internalizing Fleetwood Mac and Kinks LPs. [#88, p.59]

Evokes an industrial Enya soundtrack that would play on Frodo's laptop. [#67, p.112]

Leadoff track "Six Feet Under"- with its whispery falsetto chorus skewered by the ominous plea, "Call me when you're six feet underground" - is among the catchiest and most emotionally exposed songs Auer has ever recorded. [Jul/Aug 2006, p.86]

Stay Gold is First Aid Kit's most lush and shimmering work to date. [No. 111, p.55]

Just start at track six, where the getting gets good. [#58, p.97]

The potential is here for Bettie Serveert to be marvelous.... But [singer Carol] Van Dijk's always-ominous lyricism, her need to play variations on the fallen and fallow, leaver her warm, tentative voice too vulnerable, too nervously open, too much like a desperate character among the bones of Lou Reed's once-famous dead. [#47, p.86]

Oneida's most cohesive and beautiful record to date. [#68, p.105]

It's far, far better than anyone ever had a right to expect. [No. 117, p.53]

The double-disc, dual volume album that results is one that finds the Canadian seven-piece sounding liberated, from stylistic and budgetary constraints both. [No. 105, p.52]

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

In other spots, there’s a creeping air of spookiness tempered by an almost cartoonish playfulness that sounds like either a masked killer or a wily coyote is sneaking up behind you. Praise be to those albums that can aurally evoke emotion and vivid imagery. [No. 130, p.59]

Martsch and Co. have dipped their bucket deep into the well of pop's past to create a recombinant, joyous sound that has few modern equals. [#51, p.87]

After making three great albums in a row, for Marshall to turn in a merely decent one seems like a letdown. [#71, p.88]

Blame current remastering techniques or the prescience of its makers, each of these collections sound future-forward (then) and very now (wow). [No. 133, p.53]

Although Beast Epic does not broadcast its complexity and depth as with some past Iron & Wine efforts, it's still lovely, dark and deep. [No. 145, p.58]

Bestial Burden works because of its methodical execution--a calculated piece of catharsis that towers over all other bedroom power electronics tape-peddlers. [No. 114, p.59]

Guitar player Martin Belmont and keyboard ace Bob Andrews shine throughout, adding subtle fills and accents that give plenty of sparkle to arrangements that still merge R&B and rock with hints of funk and reggae. [No. 121, p.59]

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]