Double Exposure is exceedingly well-crafted. [No. 104, p.60]

[Lee delivers] some of the most impassioned performances he's ever recorded. [No. 104, p.58]

It's Canning's guitar work that makes Chill hum, and the embellishments are enough to separate it from the growing crop of Fahey followers. [No. 104, p.53]

There's a load of fuzzy power chords ruling these tunes, but they're smoothed out and nudged into the background, allowing a very capable Cosentino to take her rightful place at the front of the mix. [No. 104, p.52]

Good Graces falls just a tad flat. [No. 102, p.59]

It's a caustic dose of trashcore and punk that's light on melody, but loaded with riffs. [No. 103, p.59]

Bon Iver seems to be taking great joy in simply playing with musicians he admires. There's something really beautiful in that, and it shines throughout the whole album. [No. 103, p.52]

She's inverting the musicians' aging curve, each album more challenging and less easily digestible than the last. [No. 103, p.58]

The album proper already excellently spoke for itself 20 years ago. [No. 103, p.51]

Unexpected exits drop like hailstones throughout the Athenian psych/pop institution's 13-track 13th album. [No. 103, p.55]

The Blow is full of those breathy moments, minimalist percussive and vocal stimulations that send shivers and sparks from the headphones to the brain to the heart to the feet. [No. 103, p.53]

The pummeling drums and gnarly guitar may sound hardcore on first listen, but they're augmented by bright pop touches that make the bitter sentiments expressed in the lyrics easy to swallow. [No. 103, p.61]

The Sadies can still sound like the best rock 'n' roll band in the world, but here. for all their brilliance, they miss that steadying hand. [No. 103, p.60]

Bras finds the Knoxville, Tenn., trio scaling back the noise in favor of tuneful, even sweet performances. [No. 103, p.60]

Taken all in one sitting, the dashing Mole City is both way too much and way too little. [No. 103, p.60]

Siberia recaptures the exciting invention and fire of a lost album recorded between Today's Active Lifestyles and Exploded Drawing without a hint of any decade but the one we now sit in, plus whatever is going to musically transpire in the future. [No. 103, p.58]

In control, indeed, and not just of scathing language. His command over his songwriter's rainbow, from pop sprite to pastoral sage to rockabilly goat gruff, redlines on "Hegira Emigre." [No. 103, p.56]

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

It boasts riveting tempos, gripping atmospheres, imaginative chopped 'n' screwed vocal tracks and a vague sense of currency via a bass drop or two. But it also feels incredibly rote and through-the-motions. [No. 103, p.58]

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]

[A] very rewarding LP. [No. 103, p.61]

Splinter offers a hammering continuum of some of Gary Numan's most stunning synth rhythms to date. [No. 103, p.59]

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

All of it bears his precise touch, but the spectrum of moods he's able to conjure just got a lot wider. [No. 103, p.56]

"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]

Segall's hooks work well in this loud, loose-limbed environment. [No. 103, p.55]

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

Throughout, McCombs hits a brilliantly unpredictable songwriting stride. [No. 103, p.57]