What's missing most will probably not be missed at all: Berman's tendency to sound slack, sluggish and a bit lackluster. [#69, p.109]

A record that easily ranks among the heaviest, most remarkable releases in Constellation's recent catalog. [No. 143, p.57]

Take it all in, and you'll be carried away. [No. 111, p.59]

The linear song structures, full of droning, atonal, repetitive music, shrieking vocals and skewed tempos, still make this music as challenging today as it was in 1978, although some of the songs now sound remarkably normal. [No. 113, p.61]

There's no doubt who you're listening to when the calamitous chords and broken-phone vocals of "Factory" open the band's eighth full-length. [No. 148, p.61]

Even as he points out life's injustices and unpleasantries, there's an ease and comfort with which he accesses his long list of Americana influences. [No. 143, p.57]

There's a feeling of (relative) calm, with bouts of refined clarity to accompany the album's sage rage outbursts. [No. 109, p.52]

Elements of krautrock and psychedelia add color, buoyancy and narrative detail to the rippling dub-pop streams Dunis' disembodied voice drifts over like smoke. [No.89, p.58]

While the Universe is a fairly subdued affair, its quiet quality speaks volumes. [No.89, p.61]

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

Elements of glam, power pop and soul creep into the Tyde's pool of sound, making for a winning, genre-spanning formula. [#60, p.117]

This is a sterling document well worth revisiting. [No. 123, p.59]

Hold On Now, Youngster... overflows with irony, pumping out bright indie-pop songs with titles such as “... And We Exhale And Roll Our Eyes In Unison” and “This Is How You Spell ‘HAHAHA, We Destroyed The Hopes And Dreams Of A Generation Of Faux-Romantics.’”

Cheap nostalgia and cynicism be damned. They still sound--on this evidence at least--utterly majestic.

The Jersey quartet offers its most effective heartland punk cocktail to date, but shakes and stirs the concoction with new influences and musical approaches. [No. 113, p.56]

Another profoundly pastoral and ethereal folk record. [No. 114, p.53]

The more he pushes these various personas, the less sense we expect him to make and the more rewarding he becomes. [Fall 2007, p.90]

Bonar sings with a bright pop voice that creates a startling contrast to her dark, disturbing tales. [No. 134, p.55]

Deep and communal, Barefoot In The Head is CRB's most impressive studio effort yet. [No. 145, p.59]

These are just tender pop songs, timeless enough to defy categorization. [#60, p.95]

Hypercaffium Spazzinate finds the band reenergized and more characteristically succinct. [No. 134, p.55]

The Chems remain committed to their singular vision, still plying those swooning synths, continuing to breathe new life from the echoes. [No. 123, p.55]

If you're looking to get good and lost, this record's your ticket. [No. 93, p.52]

The shiny-happy '60s dream-pop has been augmented by riffier synths and a reverb-ed out pulse that scratches at the surface of the '80s with the entire package boasting stunning vocal performances by all involved. [No. 128, p.61]

The Civil War uses familiar Matmos techniques to craft unfamiliar electronic music. [#61, p.103]

Bon Iver seems to be taking great joy in simply playing with musicians he admires. There's something really beautiful in that, and it shines throughout the whole album. [No. 103, p.52]

When their voices blend, moving from two-part to three-part harmonies, the music really takes off. [No. 150, p.55]

Features the same lyrical spirit and disjointed soul rhythms [as labelmate, Shabazz Palaces.] [No.86, p.58]