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]

I hear another kid in the time honored-tradition of Paul Weller between the Jam and the Style Council, eager to explore the musical universe without any adults telling him how to go about it. [No. 147, p.55]

Penn's precision in balancing melody, mood and texture throughout nicely counters the often-depressing subject matter. [#69, p.106]

The melodies and arrangements take center stage, and they're consistently stunning. [Winter 2008, p.97]

There's something comforting about hearing this stripped-down version of Iron & Wine again. [No. 118, p.54]

That they've played themselves out of a tight corner is an impressive feat in and of itself. [Winter 2008, p.99]

Red, Yellow And Blue is good.

Inni takes the listener on a walk through 15 or so years of a robustly lush and sumptuously luxurious ethereal-pop weirdness clashing with colossal waves of noise rock. [#82, p. 60]

Daybreaker, though neither as arresting as her debut nor as cohesive as its follow-up, almost corrects the inconsistency issue. [#55, p.86]

It sounds like a band getting down to business, adjusting its identity to account for downsizing while consolidating its many strengths. [No. 100, p.51]

The toxic muse behind Pussycat's bitter melodies and crunchy guitar solos is recognizable as the man who's made so many of us feel as dejected as a woman in a Hatfield song. [No. 142, p.57]

Oddly familiar and familiarly odd, Season Hire is a challenging and progressive counterpoint to staid and fallow takes on folk music that have been crapping the airwaves--and our news feeds--in recent years. [No. 118, p.61]

True, nothing here ever astonishes, but coming from such a unique voice, the familiar bests most else. [No. 96, p.51]

Hypnotic and punchy by turns, it's a riveting album that finds Bell X1 pushing its established aesthetics in admirably new directions. [No. 100, p.52]

A thoroughly enjoyable and loving tribute. [No. 142, p.57]

That [M83] achieve My Bloody Valentine beauty through antiquated analog rigs is an achievement in itself. [#64, p.100]

The album's greatest treasures are sadder and subtler, finding their place within the Willie trifecta of love, loss and loneliness. [No. 142, p.59]

[The album presents a] well-formed, poppy and updated take on their post-punk and new-wave heroes. [No. 85, p. 56]

The Dave Sitek-produced Planta keeps things light and easy. [No. 100, p.53]

20 Years sounds like it was a blast to make. The playful side of the band, which often gets scant notice, is on full display. [No. 147, p.55]

Daniel and Schmidt have created a peculiar album that reminds us of the majesty contained in vintage machinery.