With the help of producer Jim James, Basia Bulat brings a rich, melodramatic sheen to her confessional tales of woe. [No. 128, p.53]

Heartworms is a slow-burning grower that rewards repeat listens but requires some commitment to love. [No. 142, p.58]

There are interesting little moments along the way that might lead to subtle adjustments in course. [#61, p.98]

It's awesome we can hear Merchant's truly lovely vocals and deft songwriting once again. I just wish there were more banjos. [No. 109, p.57]

This Invasion manages to be not only a perversely unique look at the Doors' cabaret rock but also makes for a catchier Coral. [#69, p.91]

Static conveys some stylistic growing pains for the young band, but it's a captivating successor to one of the best debuts in recent years. [No. 103, p.52]

With little overlap between his back-to-back acoustic performances recorded last November, we're provided a sterling overview of Adams' impressive catalogue. [No.121, p.53]

Lightning Bolt is only more competent than Foo Fighters, Vedder and Co.'s rival for the planet's straightest rock band. [No. 105, p.57]

Like much of Francis' most compelling work, the album is a mediation on a muse. [Fall 2007, p.96]

This compelling album is dominated by a spirit of grace and hope. [#81, p. 53]

After the mid-morning tide, recedes, the quartet repairs to its combination autobody shop/barbeque hotspot for beer-battered everything as the Wipers, Dick Dale, Burning Brides and crankshafts spin in the background. [No. 102, p.59]

It all makes for what might be Dr. Dog's career-defining work. [No. 103, p.54]

If the stoner rock of the Atomic Bitchwax and Nebula crashed, with care and caution, into Swervedriver and the Doors, you'd have West. [#81, p. 60]

Improbably enough, the resultant record could last you winterlong. [No. 94, p.58]

[It] only adds to the glory of his catalog. [No. 101, p.53]

Some [of the songs] are funny, some are sad, and the best are somewhere in between. [#88, p.54]

By its very generic nature, Seadrum/House Of Sun sounds more like background music than anything the Boredoms have ever recorded. [#68, p.87]

Even the twosome's weakest album has undeniable substance in its slow burn. Don't call the Yes Age just yet. [No. 102, p.58]

Though Station only gets fully cranked twice (the Battles-esque title track, the explosive 'Youngblood'), Turncrantz’s surefooted playing will keep your interest from flagging.

The melodies and arrangements take center stage, and they're consistently stunning. [Winter 2008, p.97]

One of Molina's strongest, most interesting records yet. [#73, p.96]

The sum of these elements could achieve greatness if not for one simple-yet-major falw: Beach House manages a memorable sound but not memorable songs. [#74, p.91]

Underscored throughout is how thoroughly Amidon embodies all of his material, regardless of is origins, and how much his art lies not simply in the songs themselves but in the distinctive, impressionistic atmospherics. [No. 143, p.53]

This is about as '80s nostalgic as you can get without voting for Margaret Thatcher and hoovering up a pile of Peruvian flake. [No. 121, p.61]

Helter Seltzer offers a master class in grandiose indie-pop and how to maximize the potential of the simplest of sounds. [No. 133, p.58]

Dog is Black's safest record in years.... As such, however, the album is a bore. Rollicking American rock and pedal-stell ballads don't suit Black, and the resulting arrangements are both unsurprising and uninspired. [#48, p.78]

A skilled lyricist and a great, emotive voice. [No.86, p.55]

Some of the most progressive tracks of its 20-year career. [#71, p.93]