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]