On release, a collection of singles over the band's career, its stability takes these years-spanning pieces and forms them into coherence, it's also one of the year's best listens. [No. 115, p.55]

By drawing from their past and crafting intriguing sonic hybrids rather than self-consciously aiming for some dubious new turf, the Rosebuds have, accidentally or not, wound up with their most satisfying album yet.

Let's Cry is at its best when it steps outside of this project's prescribed comfort zones. [No. 115, p.61]

A more suitable representation of the band's dynamic capabilities. [No. 111, p.57]

Cement[s] the Truckers' status as one of the best rock 'n' roll bands going. [#71, p.93]

This time out, he brings all his influences together into an LP that may be his most musically diverse offering yet. [No.96, p.56]

Things never bog down in the spectral murk, even when the tempos slow to a bump in the night. [No. 115, p.53]

Emperor is solid, dexterously played hard rock from a band that used to crush listener skulls. [No. 141, p.59]

What an odd, creakily compelling record this is. [No. 142, p.59]

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

Sparkles with glittering innovations. [#68, p.102]

Let The Dancers Inherit The Party is slickly produced, dramatic and cohesive but still has the drawback of sounding derivative and overly familiar. [No. 141, p.55]

Anyone who appreciated that combo's [OOIOO] giddy exuberance and arcane tunefulness will find plenty to like on this record's seven intricately arranged tracks. [No. 148, p.60]

A beautiful mess. [No. 120, p.51]

Loads of echo and reverb rescue the album from this potentially fatal flaw, but overall, You & Me is a mixed bag.

An inventive, truly out-of-time pop record that never registers as nostalgic. [No. 121, p.61]

This is very tasty Coffey. [No. 159, p.53]

Minus interludes and meandering artsy filler, many of the 11 tracks take fine-grain sandpaper to noise rock's jagged edges. [No. 146, p.57]

That's Harakiri never loses its human touch. [No. 109, p.61]

A twisted funk masterpiece that simultaneously evokes bad pornography and an outer-space barrio. Yeah, Change Is Coming is that good. [#52, p.97]

Folkier and less prone to rocking than [Ryan Adams], she's also more dedicated to preserving an overall country feel to the music. [#59, p.88]

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]

We Are Him arguably surpasses his work with his old band merely by simplifying things a bit. [Fall 2007, p.90]

With shimmering synths and deep, delicious grooves, Sinkane delivers a future-funk feast of global proportions. [No. 113, p.59]

Restless Ones is a statement of collective confidence and ambitious vision. [No. 121, p.55]

It's not so much airily psychedelic as totally stoned. [#69, p.99]

The merger breathes welcome new life into both of their glorified shticks, though Brown will likely have serve a stint at the Keith Moon Memorial Flailing Rock Re-Education Camp before the Turks next reconvene. [No.91, p.53]

The Jayhawks have always sounded nostalgic, but Paging Mr. Proust proves there's still vitality in the tried and true. [No. 131, p.57]