With Anything Could Happen, Stinson not only shows that Bash & Pop 2.0 has potential staying power but also that he's worthy of comparisons to his mentor. [No. 139, p.54]

It proves quickly to be a break for the better, though, forging its unique identity on account of Tatum’s ability to turn a tune in many more ways than one. [No. 129, p.61]

A taut, 40-minute affair with no filler. [#71, p.110]

Despite the experimental tendencies in the music, this is an album that catches attention in the home speakers as well as in the art scene. [No. 97, p.55]

Pop uses the strengths and weaknesses of his many guests to differing--and sometimes distracting--effect. [#61, p.88]

It's everything you ever loved about obscure French and Italian new-wave cinema soundtracks without the stench of rancid popcorn. [#55, p.74]

High concepts don't always result in high art, but Commonwealth comes close enough. [No. 113, p.61]

While no one track jumps out as a single, the entire album is something of a near cubist deconstruction of the band's sound. [No.88 p.60]

The duo’s third LP won’t reconcile the two camps; in fact, Heart On may be the first EODM album to really make the detractors’ case. Chugging riffs and falsetto vocals abound on these 12 tracks, but instead of indulging whatever black magic that kept 2004’s "Peace Love Death Metal" and 2006’s "Death By Sexy" from devolving into jokey karaoke, Hughes and Homme decide to play it mostly straight.

This is an album with a lot of parts to fall in love with. [No. 117, p.58]

Strained, anachronistic verses may test your patience, but given what Arbouretum has to say when no one's singing, there's still a lot to uncover. [#74, p.90]

This sidecar is neither evolution nor revolution, though its eight tracks contain a fair share of intrigue and insight into Bird's feverish 2011, as well as a contemporary rearrangement so sweet it should comer rimmed in sugar. [No. 93, p.58]

The tunes where this trio goes it alone are audacious. [No. 103, p.54]

The Horrors seem to have found themselves yet another niche writing the sorts of delectable psychedelic pop jams that are destined to see them crowd festival stages for decades to come. [No. 109, p.57]

This twisted, sublime, and otherwise genious U.K. pop outfit's toss-offs, b-sides and radio sessions border on surpassing the group's albums. [#48, p.92]

When they fall into slow, sullen standards like minimalist closer "I Cry Alone," it's magnificently evil. [#59, p.86]

Bazan's ability to write compelling, catchy tunes remains intact. [#68, p.100]

Home Everywhere is noisy and poppy. [No. 115, p.59]

It is, in a way, a dad-rock opus, the songs imbued with the residue of a man pondering not just the intricacies of family but the greater implications of existence that come with it. [No. 93, p.51]

The results echo any number of indelibly British daydreamers, from Syd Barrett-era Pink Floyd and XTC at its wispiest on down to Saint Etienne and the Clientele: rife with memory and magic, as fragrant and saturated as a sticky, sleepless summer night. [No. 145, p.61]

Nearly buries itself in interesting ideas that are ultimately unrewarding. [#69, p.98]

Call it the musical equivalent of Cormac McCarthy's similarly brutal The Road. [No. 146, p.59]

In its ornately layered, keyboard-heavy sonics, ALbatross is more latter-day Talk Talk than early Gang Of Four. [#70, p.110]

Top Of The Pops highlights everything that originally captured us, and makes a convincing argument as to why the band's following full-lengths are worth the money, too. [No. 98, p.52]

An overview with passionate, vibrant performances, Disconnected In New York City shows the band's history, talent and diversity with heartland rock, folk excursions, shuffling R&B and inevitable Latin rave-outs from many different points of its amazing career. [No. 104, p.58]

Same Language is excellent ersatz Russell. [No. 135, p.53]

What is by some distance the weirdest, wildest White we've yet encountered on record. [No. 150, p.60]

The group's 17th album sounds as fresh and over the top as anything it's ever done. [No. 130, p.55]