It's easily Emerald's least utilitarian album yet. [No. 94, p.53]

She didn’t play nice and didn’t take kindly to notions of acting “ladylike,” and Full Circle is her victory lap. [No. 129, p.57]

The potential showed on Explore is evidence that GRMLN still has more to say. [No.94, p.55]

Circulatory System is once again a soft pharmaceutical machine on Mosaics. [No. 110, p.53]

The Memphis ambassadors display strength after songwriting strength. [No. 124, p.59]

It's a mesmerizing and haunting labyrinth filled with morbid storytelling, hurdling tempos and rhythms that would perfectly soundtrack a meaningful coastal or cross-country road trip. [No. 149, p.61]

While they haven't really changed up their formula on this second LP, they have gotten exponentially better at brewing it up. [#82, p.59]

It's an interesting experience and definitely an entertaining listen, even if you'll have no clue what you're listening to half the time. [No. 94, p.57]

This is stark music for rock adults--pure and simple. [No. 107, p.61]

Occasionally cliched and often anthemic, this is an old-fashioned populist rock record that grows steadily with repeated listening. [No.89 p.53]

The hooks don't let up, the instrumentation provides the kind of sly surprise a pop listener wants from a three-minute gem, and the vocals have just enough grit to convey a darker lyrical tone. [No.87 p.59]

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

On the whole, this is the fuzz-popping, party-starting, pan-galactic prescription you forgot to remember you were waiting for. [No. 94, p.58]

A pleasant surprise. [No. 136, p.56]

Here guitarist Dante Schwebel cedes more space [than on past albums] to Abraham Villanueva's dense beds of keys, bringing a fuller, more textured sound that makes a big hooks even bigger. [No.89 p.55]

Ruminations doesn't set out to be a grand statement, but it's all the more rewarding for keeping the focus on Oberst's word-rich language and emotionally direct observations. [No. 136, p.59]

The songs are as dense and atmospheric as we've come to expect. [No. 126, p.55]

The album, recorded mostly in one or two takes, reaches a deft balance of Simone's rich jazz settings and Xiu Xiu's avant-garde expulsions. [No. 105, p.61]

You can feel Bridwell's effort, while Beam's casual understatement is entrancing. [No. 122, p.51]

Love Is The Devil draws more obviously from film music, creating a moving, mostly instrumental platter loaded with evocative drones and coarse textures. [No.99, p.55]

The rather unimaginative song selection is enlivened by inventive medleys, stylistic reinterpretations, and playfully arranged instrumentals. [No.89 p.55]

An airbrushed return to the imagination hinterlands of an expressive impressionist. [No. 126, p.57]

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]

Even more than on its two earlier LPs, Rhyton knows where it's going. Each piece zeros in on a particular mood. [No. 116, p.59]

The stark, live rendering at Oran Mor reveals the quiet beauty and strength these songs possessed all along. [No. 126, p.61]

Morning Phase is ultimately a mood piece: a quiet triumph of feeling over form. [No. 107, p.51]

Simmons can write lengthy tomes, but Sylvie shows she's also adept at paring her words to simple truths. [No. 116, p.61]