Love If Possible is a delightful confection, and Sakamoto keeps it just the right amount of sweet. [No. 159, p.59]

Faced with conventional, if not threadbare, tunes, Sylvian becomes grand in comparison, humming and mumbling through the subtlest opera of tweaked, quaking noises. [#60, p.117]

A hungry batch of songs that finds Malin wandering the avenues and uncovering compelling stories wherever he goes. [#64, p.100]

If it's been a minute since you've spent time with BSS, Hug Of Thunder could be a revelation. Otherwise, you'll just have to settle for it being a very good album. [No. 145, p.53]

There's more to Cheatahs than throwback sonics, though it takes a few listens to really catch the complex melodies and structures in the album's strongest cuts. [No. 106, p.53]

Frame's always been an old soul, and the heartfelt Seven Dials is a welcoming return. [No. 113, p.55]

It's heady.... Wand delivers dynamic, lysergic rock 'n' roll. [No. 125, p.61]

Toth's spare lines still keep you listening and wondering, reeling you in to music that starts out gently lyrical and ends up as immersive as the sea. [No. 142, p.61]

English Electric is a tremendously satisfying listen for fans who've worn out their copy of Dazzle Ships. [No. 97, p.57]

While not as immediate a confection as past releases Ad Infinitum is Telekinesis' Golden Record. [No. 124, p.61]

Most of Skeleton is an endless rush, sounding like up-tempo versions of the Pixies' surf-rock choruses. [#71, p.93]

And Now That I'm In Your Shadow finds him at another peak. [#74, p.98]

As a whole, The Complete Recordings quiets the lingering misconception that after the Pixies, Black's best work was behind him. [No. 119, p.52]

The title track ... and the unstoppably melodic "Billy Wire" are two of the catchiest tunes Pollard has ever penned. [No.88 p.56]

For those [who have cottoned to Mascis' nasal falsetto and six-string wizardly], this is another lovely acoustic outing from a beloved artists. For the rest, move along, there's nothing to see here. [No. 112, p.59]

As subtle as, and harder than, a flying mallet. [#58, p.84]

Spoon and Rafter proves that sometimes refining your focus is just as enlivening as radical departure. [#60, p.108]

If you're sitting still through Myth Takes, you might be dead. [#75, p.90]

As epic and compelling as nearly anything in the Cult's '80's back catalog. [No.87, p.53]

Wye Oak just turned in one of the year's most satisfying and seductive records. [No. 109, p.51]

Quilt doesn’t merely revisit retro glories on Plaza; it infuses them with contemporary indie-rock energy and melodic dissonance to create an edgy and engaging hybrid. [No. 129, p.59]

Krug's non-stop croaking yells get old quickly, and the few highlights are hardly worth sitiing through an hour of Renaissance Faire-y meandering. [Fall 2007, p.108]

The fourth LP from this gritty Toronto five-piece offers a few genuine gems sprinkled among many more tracks borne out of blue-collar blood, sweat and tears.

Folly finds KOD darker and statelier than ever. [No. 104, p.57]

The band manages to harness the immediacy of being a three-piece without sacrificing sonic depth or complexity.

Chelsea Light Moving finds Moore in renaissance mode. And it's pretty goddamn great, even if one might occasionally yearn for a Lee Ranaldo squall or Gordon vocal coo-roar up around the next bend. [No. 97, p.54]

Spencer lays down as much hog-calling jive as can fir on the tape. [No. 119, p.59]

Cosmopolitan, but often dull, easy listening.... Basically, Thievery Corporation skims the surfaces of more substantial styles and reconfigures them to create pleasant dinner-and-drinks music. [#47, p.124]