Crisper and cleaner than any previous Why? musing, Mumps Etc. is chamber hop for people who buy every remastered reissue of Pet Sounds. [No. 92, p.60]

Segall makes quite a cacophonous rock 'n' roll racket with infectious pop stompers like rousing, four-on-the-floor rocker "You're The Doctor" and the menacing, rolling riffage of "They Told Me To." Yet, the headroom in the mix makes so the oceans of pulverizing reverb don't swallow the hooks. [No. 92, p.59]

Not since the Men dropped Leave Home last summer has a young band made an album of pure, hard-edged rock this good or entertainingly lacerating. [No. 92, p.56]

His conspicuous over-reliance on the same, tired lyrical themes does the record in, highlighting just how short on variety the LP is. [No. 92, p.55]

Jackson sounds as vital as ever in front of her live band, and has crafted a definitive album in a storied career. [#92, p.54]

Nothing about Sunday Run Me Over should stop fans from flocking to this. [No. 92, p.53]

It sounds like a fun, energetic performance but it downplays his sophisticated charms. [#91, p.56]

The music is starting to shift into a sort of Hipster Triple-A agreeability that robs it somewhat of the flavor that made the Raveonvettes so distinct, but suggests a maturity taking hold. [No.91 p.60]

The songs [on The Bloom and the Blight] have a folk/blues foundation, but they're delivered with a grungy punk energy. [No.91 p.60]

For Kill My Blues, Tucker has made the kind of music she did when first inspired to pick up the guitar: riot rock with restless, pent-up frustration that buzzes with nerve. [No.91 p.60]

Many cover choices are deft... though others like the Best Coast's bouncy take on Nicks' "Rhiannon" and Karen Elson's on-the-nose "Gold Dust Woman" are less revelatory. [No.91 p.61]

It would be nice if they [her lyrics] cut through the music a bit more clearly; its richly textured blend of strings and electronica is attractive, but would stick better if it balanced its drift with a bit more assertion. [No.91 p.59]

This minor genius from Gothenburg hurdles over [the heartbreak record] as effortlessly and charmingly as his livelier material. [No.91 p.58]

Putrifiers II finds a compelling bridge between the two poles [the breezy, lo-fi records Dwyer makes on his own and the heavier, more propulsive ones he makes with the full band] - ironically by being a remarkably wide-ranging effort. [No.91 p.59]

The trio still churns as mixing hot butter with bourbon and gargling gasoline [No.91 p.59]

Though not everything in the limper, bloatier back half hits the mark, they're mostly aiming in the right direction. [No.91 p.59]

The flouncing, bouncy "Winner" is just the most hateful of the bunch, with insipid lyrics, overly bright production and a vocal line so pale it's opaque. "Hold On" and "Give It A Go" come damn near close to that level of dread. Luckily, though, those are the album's sole missteps. [No.91 p.58]

Orbserver is the latest chapter in that legend's [Lee Perry's] ever-lengthening history, and it works ok in that sense. But it's barely an Orb album. [No.91 p.58]

Sounding awfully familiar much of the time, Silver Age may not be Mould's best work - and it's certainly not his most original. But it's got a weathered shine. [No.91 p.57]

For My Parents de-emphasizes stylistic juxtapositions for a more holistic approach to epic soundscaping. [No.91 p.57]

There are more than enough licks to compensate when that tendency [to sound whiny or emo-ish] gets a little overwhelming. [No.91, p.57]

Love This Giant fitfully achieves its aim of unlikely, unearthly pop. [No.91 p.56]

While Moms never reaches the earwormy heights that it leads off with, there's still a bunch of choice moments [throughout the album]. [No.91 p. 56]

Arriving ten years after her solo debut, Little Heater has managed to take the anachronistic qualities of Irwin's sound and imbue them with real relevance. [No.91 p.55]

Like a tightrope walker toeing a slack line, the Helio Sequence enters and exits this fifth full-length at its highest points... In between, Negotiations breaks down. [No.91, p.55]

It's difficult to accept him as an angry rocker. He's so great as a lovelorn crooner - heard here on "Seek It," one of the album's few moments of tenderness - that it's hard not to be nostalgic for the old Hawley. [No.91, p.55]

It's all here - all seven studio albums, which, despite the hype, remain truly fantastic. [No.91, p.54]

The merger breathes welcome new life into both of their glorified shticks, though Brown will likely have serve a stint at the Keith Moon Memorial Flailing Rock Re-Education Camp before the Turks next reconvene. [No.91, p.53]