The five tracks never end far from where they begin, but they're also forever shifting. [No. 103, p.53]

Ultimately, this is really only of interest to random member of Teenage Fanclub and die-hard obsessives alike. [No. 103, p.52]

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]

One-third of VII has the quintet living up to the folk/country billing with upbeat, chaw-spittin', porch-sittin' classics-in-waiting and depressive ballads presented in Eric Earley's stark, storytelling style. The other two-thirds have skittering keyboards and soulful backing vocals. [No. 103, p.52]

While k2o might be a little more abstract than its predecessor, the tones and textures are more fleshed out this time around. [No. 102, p.57]

While the abundance of previously unreleased rarities make this must-have fare for any self-respecting Pumpkins fan, Aeroplane does little but highlight how far past his prime Corgan is. [No. 102, p.60]

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]

Dramatic tension exists throughout, but in ways Explosions fans aren't used to hearing from the band. [No. 102, p.54]

Negativity is well worth a shot, but there may be times you'll end up sleeping it off. [No. 102, p.55]

Third Eye Centre is a wonderful addendum to the band's prolific and enchanting catalog. [No. 102, p.53]

Like everyone from Young Marbles Giants to Stereolab, less is always more with ARS, making every choice more deliberate and powerful. [No. 102, p.52]

Get lost with them. [No. 102, p.54]

The album is singularly that of Ono's deliciously odd aesthetic. [No. 102, p.59]

This is music that's instantly, wordlessly evocative while also invitingly open-ended. [No. 102, p.57]

Sound System could well be a life changer, containing, as it does, the collected works of hands-down the greatest rock 'n' roll outfit the UK has produced in the last four decades. [No.102, p.51]

May's singing is the unifying thread, a balmy, melancholy-drenched tenor that brings a touch of sunshine to every word uttered. [No. 102, p.58]

It's the best album Fulks has ever made, period, and even if you can't quite make out the twister that swept away all that old anger, it's easy to hear the sweet, sad emptiness it left behind. [No. 102, p.56]

This fourth outing puts to bed both Tonight's frantic lonerism as well as any notion of a second night out with Alex Kapranos' equal-opportunity, Jacqueline-and-Michael seducer. [No. 102, p.56]

[Neko] Case misses Carrier, and it her. [No. 102, p.55]

The period specificity doesn't weigh down this buoyant album. [No. 102, p.60]

There's plenty of upbeat rockers, but a bulk of the record is made up of ballads and slower jams. [No. 102, p.57]

Almost every inch of The Worse Things Get is stout and strong-willed. [No. 102, p.52]

It's best to take each line as a scene, each song an onslaught of images, but embedded indelibly into your brain by hooks that won't quit. [No. 102, 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]

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

Vocally, Gordon is reborn, baptized in fire. [No. 102, p.53]

Defend Yourself is virtually filler-less. [No. 102, p.52]

As ever, SSLYBY thrives most on its unyielding pleasantness. [No. 102, p.60]