Languid and sometimes lagging, [a] sensual 47-minute set. [No. 92, p.52]

With Foil Deer, Speedy Ortiz fully owns its style, quirks and neuroses on a level that would have been unimaginable circa 2013's Major Arcana. [No. 120, p.61]

An album chock-full of some of the most melodic and memorable work the band ever produced.... This reissue definitively covers the final chapter of Reed's time with the band that not only established his street cred, but launched him headfirst into his solo career. [No. 126, p.56]

As fine a record as you're likely to hear in 2016. [No. 132, p.54]

A soundtrack that hits with the force of a well-timed punch and soothes like the ministrations of a doomed romantic poet. [No. 142, p.56]

The Avalanches bag production, they roller-coaster; got to be jokers, they just do what they please. [No. 134, p.51]

An embarrassment of riches. [#58, p.91]

It's good to have these Michigan noisemakers back, in fine form. [No.99, p.61]

The new Apocalypse is leaner and funkier than the more jazzy and sprawling Golden Age Of Apocalypse. [No. 100, p.59]

Williams’ themes here aren’t new for her—love lost and found, mortality, the struggle to get right with God. But thanks to Frisell especially, the settings for Williams’ cracked, world-weary voice and vivid songwriting are indeed new. [No. 128, p.60]

This album is magnificent. [No. 109, p.54]

What holds it all together—besides the thematic unity--are Pollock’s vocals, which are clear, unaffected and emotive throughout. [No. 128, p.59]

Consistently fantastic. [#64, p.80]

Guitarists Gunn, Jim Elkington and Paul Sukeena channel their prodigious technique to fleeting textures and ingratiating hooks, and the arrangements update the template of 1970-vintage Velvet Underground and Grateful Dead with a half-century of judiciously applied production acumen. [No. 131, p.57]

Hard, clear and carefully ornamented, their harmonies feel as ancient as the hills and as immediate as the wind hitting your face. [No. 143, p.57]

Mozart's Mini-Mart is full of short, witty synth-pop songs such as "When You're Depressed." Think Magnetic Fields at their most ephemeral. [No. 150, p.53]

A captivating listen. [No.87 p.58]

The duo constantly varies each elements of its sound in ways most rock bands could learn plenty from. [No. 95, p.56]

The rhythm section is thoroughly strong, giving the band freedom to travel as far into the bleeps and bloops as it pleases, which is many miles. [No. 100, p.57]

That they've played themselves out of a tight corner is an impressive feat in and of itself. [Winter 2008, p.99]

With the right proportion of leadership and lawlessness, Wild Flag sounds like liberation. Long may they wave. [#81 p. 52]

An epic, potentially epoch-making release. [No. 131, p.53]

It's a truism that embedded in most double albums is an even better single one, but that doesn't apply here. [No. 114, p.58]

Subtle acoustic bass, quiet drums and occasional strings and piano accents support his strummed acoustic guitar, leaving his quiet, expressive singing at center stage. [No. 138, p.61]

Accelerator is the most focused album Royal Trux ever made. [No.92, p.57]

Cheap nostalgia and cynicism be damned. They still sound--on this evidence at least--utterly majestic.

The Sunset Tree can be bleak, but it's also redemptive. [#68, p.104]

It's freeing and inspiring and a wondrous odyssey of class-consciousness. [No. 109, p.58]