It's a warped ride overall, though not without some solid moments hidden beneath the surface. [No. 96, p.54]

A concept where every title is a different animal should've wielded funnier, more songful results. [No.98, p.55]

At times, the offering is inviting on the surface, but becomes a bit antiseptic or flattened once you actually get inside. [No. 98, p.53]

Serene, synthetic drones and sparse, resonate bass give the music body, and enthusiastically applied echo makes these instrumentals as dizzying as a vintage Lee Perry mix. [No. 98, p.58]

It's bolder, more focused and just all-around more rocking [than 2008's Party Intellectuals]. [No.98, p.59]

There's no shortage of pretty sounds, but it's too easy to drift into the reliable ebb and flow of this album's amniotic dynamic. [No. 98, p.54]

The failing of Plain, however, is its lack of direction and absence of cohesiveness. [No. 98, p.55]

There's nothing here that radically reinvents the delicate beauty of Drake's timeless compositions. [No. 98, p.61]

{Awayland} is far more confident than 2010's Becoming A Jackal, its vision more ambitious, its poetry more conflicted, its melodies more complex, its execution more polished. [No. 98, p.61]

It's an artful & well-crafted collection. [No. 98, p.60]

This half-hour slab of very high-energy punk would be cathartic if its root darkness weren't so persistently unsettling. [No. 98, p.60]

Comedown Machine may not quite hit the heights of the band's masterpiece-to-date, but it continues the band's healthy trend of finding curious new ways to twist and complicate its by-now instinctively recognizable sound. [No. 98, p.60]

Even at 16 tracks, RKives feels paltry and incomplete. [No. 98, p.59]

Not only does Bankrupt! propose a big, stadium-ready sound, it offers one that nearly suffocates its creators. [No. 98, p.59]

No matter the song or guest, it always sounds like the Melvins, and that's a good thing. [No. 98, p.58]

If the fanboys and motorheads are equally turned off by it in places, you get the sense the Puppets themselves--who sound happier and more comfortable here than they have in years--would be perversely pleased. [No. 98, p.58]

Boasting strength, durability and psychic stability on comeback Bloodsports, Suede shows its true dramatic worth on pensive, atmospheric exhibitions. [No. 98, p.57]

Take the fake phone call and run, don't elephant walk, away. [No. 98, p.56]

It is, for the most part, a distant shadow of former glories. [No. 98, p.56]

Playing to previous strengths, the band's third LP shuffles the decks, throwing six-string spiderwebs into spacey, bass-textured atmospheres. [No. 98, p.55]

Overgrown is a fuller, more heated album than its predecessor, denser and more tender. [No. 98, p.52]

There's no real depth allowed in the themes, of course, and it bears no small resemblance to most other post-LCD Soundsystem fare. But it's beyond pointless to fault another person's idea of goodtime music. [No. 98, p.52]

Top Of The Pops highlights everything that originally captured us, and makes a convincing argument as to why the band's following full-lengths are worth the money, too. [No. 98, p.52]

It's a denser, darker album than 2011's S/T II: The Cosmic Birth and Journey of Shinju TNT, spending more of its time gazing outward, intent on gleeful subversion and taking delight in making noise for the hell of it. [No. 98, p.52]

What's great about English Little League very much preaches to the choir. But it's nevertheless clear this crew is ready to welcome some new converts once more. [No. 98, p.51]

MCII never quite gets to the point of pastiche, but its fondness for grunge-era distortion and '60s-style harmonies makes it entirely contemporary. [No. 98, p.53]

Michael "Fitz" Fitzpatrick still knows his way around a catchy hook, though, and there are more than a few memorable ones here. [No. 98, p.55]

Black Pudding is like any other Lanegan record, just with better chops. [No. 98, p.56]