Musically, it's their most ambitious release, with full orchestras and mysterious meditations of reality and fantasy. [No. 102, p.56]

The uniformly dark, driving song cycle has no real high or low points--just 11 consistently thrilling guitar and drum loops led around in circular crescendos by Windett's wire-taut tenor. [#73, p.84]

The music is starting to shift into a sort of Hipster Triple-A agreeability that robs it somewhat of the flavor that made the Raveonvettes so distinct, but suggests a maturity taking hold. [No.91 p.60]

Though it isn't as catchy or streamlined as Lifestyle, one of Italian Platinum's many strengths is the continued ability of bassist Tim Midgett and guitarist Andy Cohen to pen lyrics that are downcast yet inspirational, witty yet insightful, sometimes all at once. [#55, p.86]

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]

Is White's nonchalant spectrum dabbling [found throughout the album] as interesting as the myriad variables of his own quirky sound? Eh, not quite. [No.88 p.60]

It's very Art Of Noise circa 1991. [#73, p.104]

A record that still manages to seamlessly blend doom, ambient, noise and post-rock. [No. 135, p.61]

"Invisible" offers spacy prog; "Waiting" could be a sitcom theme song, and "Living in Song" and "Mexico City Christmas" are slinky, murky and devo-ish. There are also rapid-fire, traditional indie rockers and happy summer jams. [No. 103, p.55]

All in all, the best return to original form a stadium band can risk these days. [No. 103, p.57]

It's jauntier, if still jaundiced, and contains some of Gainsbourg's best compositions. [No. 138, p.57]

If Seaworthy is more restrained than Macha, it's just as colorful. [#83, p.89]

All four of these tracks succeed in holding the listener's attention throughout. [No. 122, p.57]

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

Between Waves might be the least Relapse of all Relapse titles, but that's what genuine eclecticism looks like. [No. 135, p.53]

The cosmic expanses of "I Love You Too, Death" and "Astro-Mancy" are particularly engrossing, but this record boasts more than enough quality head trips to keep you in it pull 'til the next go-round. [No. 103, p.57]

The Hartnolls sound more relaxed and at ease than they did on their last album. [#51, p.105]

With All The Times We Had, they've nailed the harmony-drenched, foot-tapping folk/rock of the Seattle sound. [No. 96, p.55]

Like any record geeks, they deftly reshape their heritage into their own original catalog. [No. 135, p.53]

With its plumb-pretty songs, Mouthfuls will be part of the Smithsonian's year 3000 exhibit on white people. [#59, p.95]

It’s a simple collection of typically melody-rich songs for piano, bass and drums (Jackson is backed by JJB alums Graham Maby and Dave Houghton) that occasionally swings (“The Uptown Train”) and sometimes lurches like the good old days (“King Pleasure Time”).

While RZA has never sounded so alive, Banks has never sounded so, well, dead. This hot/cold, menace-and-moody pattern--it's what most of Anything But Words' song structures are all about. [No. 135, p.51]

More than country cousins to the Black Keys, these Allstars are the real deal. [No. 103, p.58]

Earle doesn't try to reinvent the blues, but he wears them well. [No. 117, p.53]

It may not be what you expect, but it's got the same Dwyer DNA that's always made he band compelling. [No. 138, p.61]

Bed... opts to crank the volume knobs a little, with wildly divergent results. [#73, p.100]

For the most part, he succeeds. [No. 97, p.60]

It doesn't add a lot to our understanding of Revival. ... Still, it's cool to discover the unreleased songs, including Johnny Cash "One Piece At A Time" homage "Dry Town" and to be reminded of how great Revival is. [No. 138, p.61]