It's a dark, repetitive, uncompromising record, full of challenges and threats. [No. 97, p.51]

Ryan Adams (the album) carries all the classic hallmarks of Ryan Adams (the musician), tightly condensed into an essential collection of polished Americana. [No. 113, p.52]

We find a band tapping into a distinctly American heart of darkness, capturing this nation's descent into partisan chaos and random, endless violence the way only the foreign-born can. [No. 97, p.54]

Not nearly as tear-stained as his 2000 mini-album Gerroa Songs, Three zeroes in on the uptempo, if not the upbeat. [#55, p.84]

This may be more apple peel than you care to chomp on for a sloppy experimental pop act making its debut. [#53, p.92]

Nada Surf took it to The Next Level with 2003's near-flawless "Let Go" and has followed it up with two amazing, richly rewarding efforts. [Winter 2008, p.110]

It would be nice if they [her lyrics] cut through the music a bit more clearly; its richly textured blend of strings and electronica is attractive, but would stick better if it balanced its drift with a bit more assertion. [No.91 p.59]

Save for the slightly teary 90-second trudge of "The Real Wilderness," it's a rollicking pummel throughout. [No. 121, p.58]

I Can't Imagine might be her strongest release this side of I Am Shelby Lynne. [No. 120, p.57]

Tune in, turn on, and keep it fresh. [No. 149, p.53]

Sure, it's steeped in familiarity, but it's also fun in the sun. [No. 125, p.60]

Whimsical, immaculately realized music. [#67, p.98]

Though there’s nothing too saccharine on Emotional Mugger (even the line “I want your candy” on “Breakfast Eggs” is more of a threat than a statement of desire), the melodies are some of the strongest Segall has ever turned out. [No. 128, p.56]

Don’t fetch the gurney just yet. Seems Buffalo Tom still has a few good ones left in ’em.

The Private World Of Paradise does have a somewhat rustic, indie-rock feel, though augmented with a greater wealth of instrumentation. [No. 107, p.61]

Carousel One is Sexsmithery at its finest. [No. 119, p.59]

Regeneration is pretty, clever, meticulously planned and tastefully executed.

Alone's as good a Pretenders record as has been made. [No. 137, p.59]

[A] more muted follow-up [to 2014's The Way I'm Livin']. [No. 148, p.61]

It's a place Dessner has visited before, both inside and outside the National, and though he's earned plenty of concert-hall cred over the last few years, these incomparable Kronos recordings represent a huge leap. [No. 105, p.56]

Blood Oaths Of The New Blues has us realizing, possibly for the first time, what an amazing, enrapturing voice the dude has. [No. 95, p.61]

Much of the material is mid-tempo and occasionally bland, but in its best moments... Kill Them With Kindness soars. [#60, p.105]

What On really proves is that great albums aren't a thing of the past. [#54, p.94]

At points, Life Is Full Of Possibilities certainly sounds as if Tamborello realizes what distinguishes the good from the great. [#53, p.72]

Let's face it: Group Sounds is shit. But it's pure shit, which makes all the difference.... Everything is overdiven and mixed to within a decibel of ear-shattering heaviosity. It isn't just monstrous, it's gleefully, unapologetically monstrous. [#49, p.88]

A record that blows up like a supernova and runs the dinner-jacket nobility of its predecessor through a wood chipper. [#59, p.96]

Boot! goes back-to-basics in terms of lineup and material, but sounds heavier than ever. [No. 105, p.59]

A headphone-friendly, Latin-flavored, hypnotic concoction of deep grooves, tropical textures and warped blips and bleeps compressed into fractured layers. [No. 96, p.55]