The result is music that undulates and bobs, never really going anywhere, but accumulating density. [No. 101, p.52]

[It] only adds to the glory of his catalog. [No. 101, p.53]

Mediocrity this aggressive should cancel itself out at some point. [No. 101, p.53]

It's all beautiful and entrancing, but what's missing is a sense of discovery. [No. 101, p.52]

His voice wafting in as it from across some great, wide divide, he drapes heavy-lidded seductions and portending cautionary tales over several decades of occultish folk, ritualistic rhythm and acoustic blues, from Bron-Y-Aur stomps to paralyzed lullabies. [No. 101, p.51]

The whole affair has the energy of a younger band, one just starting on its first album rather than an act 30 years old. [No. 99, p.53]

The Olms offers ample reassurance that Yorn is one hell of a craftsman, even when he's striving for a less-is-more-aesthetic--though the jury's still out on whether he's an artist best left to his own devices. [No. 100, p.54]

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]

Arthur goes at it more heartily than ever on autobiographical treatises like "King Of Cleveland," with a full-blooded band of renowneds and a funk that matches his usual finessed frenzy. [No. 100, p.52]

It's hard to listen, and that makes Dear Mark the kind of pointedly painful pop that forces me [to] rush out, buy 11 albums that came before it and never get around to opening the packages. [No. 100, p.56]

You get something that's very lovely and poetic and melancholy and vulnerable and unspeakably beautiful. [No. 100, p.54]

Another fine Vanderslice record with all he things we've come to expect. [No. 100, p.61]

As a 33-track double album, With Love has space for a small village's worth of memory lanes. [No. 100, p.61]

The group has managed to retain a sense of innocence, freshness and pure joy in the act of creation. [No. 100, p.59]

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

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

The Style Council-style blue-eyed soul and precise power pop of the debut now have some company that doesn't work, like the '70s Nashville countrypolitan exercise of the title track. [No. 100, p.51]

It's not an overall disaster, it's certainly never dull, and there's plenty to keep the loyalists happy. [No. 100, p.58]

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

Queens Of The Stone Age lumbers its way through a series of increasingly skronky, sludge-by-numbers jams and sound. [No. 100, p.57]

[The] sly, artful brilliance should come as no real surprise. [No. 100, p.57]

Overseas hits all the soft spots of longtime fans, while cohering easily into a new and striking whole. [No. 100, p.57]

While Femi's flame doesn't burn quite as strong as his dad's, the Kuti family still holds the belt as reigning champs of Afrobeat. [No. 100, p.55]

Jimmy Eat World has become a purveyor of modern rock that just so happens to have a noisier background that jerks like me won't let it live down. This permits recognition of well-penned, upbeat numbers like Appreciation" and "How'd You Have Me." [No. 100, p.55]

The production is crisper, the songs seem less abrupt, and the vocals are less murky. [No. 100, p.53]

This record's controls are set for the heart of the drone, and the crew knows precisely where they're going. [No. 100, p.53]

The Dave Sitek-produced Planta keeps things light and easy. [No. 100, p.53]

Though it's easily the group's densest, most challenging release to date, Tomorrow's Harvest will likely gratify anyone willing to dig deep enough to reap its wonders. [No. 100, p.53]