The 10 tunes evoke nothing but a good, unusually brisk-feeling and '70s-like Luna record. [No. 147, p.58]

The results are everything you'd expect from the guys responsible for Pulp's This Is Hardcore, Air's Moon Safari and Beck's Sea Change. [#75, p.98]

While his gloriously grizzled voice remains probably the most majestic instrument in the entire 21st-century retro-soul arsenal, and the Daptone mob mete out many more-than-serviceable grooves for him to rap atop, Changes offers no real shake-ups. [No. 130, p.55]

Not nearly as tear-stained as his 2000 mini-album Gerroa Songs, Three zeroes in on the uptempo, if not the upbeat. [#55, p.84]

This latest offering carries an overwhelming feeling of desperation. [No. 139, p.53]

"Praise Ye The Lord" opens the album on a dramatic note, with Previte's cymbal work adding power to the ardent lyric. [No. 142, p.53]

Contrary to the urgency of the title, Silencio! is more intermission than showstopper. [No.89, p.59]

Smith keeps his garage-rock grounding--and his distinctiveness--intact. [No. 100, p.58]

Not everything kills, but when the band's "psychedelic rock and blue-eyed soul" finds its groove, it's still a breathless wonder to behold. [No. 124, p.61]

Its best moments stand among its members' better experiments, though the rest will likely be replaced after another decade-long ice age. [Summer 2008, p.106]

There's something about the sixth full-length from this Icelandic experimental electronic outfit that feels like exciting new territory--and something about it that feels like home. [No. 102, p.58]

He pushes himself into unfamiliar, often sonically jarring new terrain. [#73, p.112]

Howl works best when Feck and Co. marry their frustrated empathy with hopeful jubilation, letting the kids know that although they're lonely, they're certainly not alone. [#82, p. 53]

Aside from the awkwardly grungy 'The Score,' these are good songs well-played, with Walla handling everything except for drums.

Love Streams is a more amiably cluttered affair: bolder, stranger and, at times, considerably more bewildering, but with an ultimately playful, exploratory guiding spirit. [No. 130, p.57]

Seems a transitional work connecting As Above to the future. [#56, p.78]

Sounds like somebody has exited the coffeehouse with a strong jolt of caffeine. [#74, p.101]

Paradise still sounds like the work sf an artist turning her face back, if somewhat slowly, toward the sunlight. [No. 142, p.55]

The potential is here for Bettie Serveert to be marvelous.... But [singer Carol] Van Dijk's always-ominous lyricism, her need to play variations on the fallen and fallow, leaver her warm, tentative voice too vulnerable, too nervously open, too much like a desperate character among the bones of Lou Reed's once-famous dead. [#47, p.86]

Gimmie Trouble: cyber funk or cyborg punk? [#70, p.86]

Ultimately, it's a delightful indulgence--you're never quite convinced that Turner's about to quit his day job--but a hugely enjoyable one, and Arctic Monkeys fans, in particular, will devour this. [No. 130, p.59]

He calls this collection of tunes "California noir," and the album delivers on that promise with songs that explore the deteriorating American dream in all its faded glory. [No. 139, p.59]

Secrets Are Sinister’s unflagging energy keeps it from sounding tragic, as if with a few more tries, its narrators and subjects might be able to bridge the gap between them.

The reanimated sludgefest is no mere quaint time capsule; music this brutally elemental is as eternal as the stars and as fresh as the debuts of Black Sabbath and the Beastie Boys. [No. 130, p.59]

Let There Be Morning may not cure your insomnia, but it should be a soothing antidote to that fourth double cappuccino of the day. [#67, p.96]

At times reminiscent of the Lilys' Better Can't Make Your Life Better, Snowdonia works within formula, but it does so with aplomb. [No. 139, p.61]

Campily butch. [#69, p.110]

There's a lot of worthwhile material for her to perform here. [No. 100, p.59]