He's created a burbling paint pot of a record, one teeming with ideas, styles and reference points as diverse as Double Nickels On The Dime, but wholly recognizable as Tweedy-esque. [No. 113, p.60]

The band is beyond tight, and not only does singer Bruck Tesfaye possess the requisite mellifluous diction, he has an impassioned delivery that reaches effortlessly across language barriers to collar anyone ready for a good time and haul them willingly onto the dance floor. [No.90, p.58]

As mood music for a particularly rainy series of months, it's a perfectly bummed-out comedown. [No. 138, p.60]

Schott's new material retains some of the music-box delicacy of yore, and her breathy singing is as slender as a reed. [No. 119, p.53]

It's as good a collection as Saint Etienne has ever released. [#71, p.111]

Conatus hits like a miniature hurricane in a box. [#81, p. 60]

Predictable. [#57, p.105]

There's not a lot of post-punk, no-wave or noise to be found here, but more so a very topical sound for the right now. [No. 122, p.53]

In Our Heads sees them take their craft to its most dizzying heights yet. [No.89, p.54]

It's all beautiful and entrancing, but what's missing is a sense of discovery. [No. 101, p.52]

It's all beautifully crafted, though very sad. [No. 122, p.53]

He's broadened his palette, finding the muscle to push against his lightness, the long, legato breaths to anchor his 30-second notes, and the heart to say all the things he can't say on his own. [No. 106, p.57]

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]

Goofy and awkward, yet mature and sincere, this album showcases a band making magic from the mudpies of millennial angst. [No. 143, p.55]

It doesn't add a lot to our understanding of Revival. ... Still, it's cool to discover the unreleased songs, including Johnny Cash "One Piece At A Time" homage "Dry Town" and to be reminded of how great Revival is. [No. 138, p.61]

The Marriage Of True Minds is pure late-model Matmos: perverse, urbane, crowded, hilarious, and efficient. [No. 95, p.55]

It's all, as you've come to expect from the duo, pretty enough and daydream-inspiring on its own. [No. 120, p.53]

The broadest, strangest and coolest sonic canvas that Deerhoof has ever framed. [No. 146, p.52]

Although Powell's new land Of Talk is considerably more contemplative and understated, Life After Youth is an evocative and powerful step forward. [No. 142, p.57]

A flawless display. By turning former earache classics like "If You Want Blood" and "Love At First Feel" into beautiful acoustic ballads, much of The Moon sounds like his previous hits... [#49, p.86]

Musically and lyrically, she shares more with Barbara Manning and John Darnielle, able to tell affecting late-night confessionals with sharp attention to detail and very little drama. [No. 97, p.61]

More than country cousins to the Black Keys, these Allstars are the real deal. [No. 103, p.58]

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

Overall, Electric is another consistent yet unsurprising recent Thompson album. [No. 95, p.59]

Assured and assertive, Night Time, My Time plays like the darker, dirtier counterpart to fellow category-co-founders Haim. [No. 105, p.54]

Heaven Adores You accomplishes its purpose: It reminds us of the evolution of a favorite artist and gives us the gift of new music, even if what it does best is send us back to the original albums to say yes to them all over again. [No. 129, p.51]

Yes, this album is a turophile's dream, but only the most black-hearted cynic could resist joining the party. [No. 141, p.61]

Like his labelmates in Alabama Shakes, Booker takes inspiration from the past to make huge artistic leaps forward. [No. 143, p.55]