Try to listen to a whole [Azure Ray] album and time stands still, not out of boredom, just deja vu. [No.91, p.52]

Although the quartet might not have topped Merriweather Post Pavillion, it did the next best thing: make an album that's entirely new and just as exciting. [No.91 p.52]

This is easily her fullest-sounding, most animated record to date, dense with layers upon layers of sound... and copious multi-tracking of Marshall's intimate, elusive, dispassionately soulful voice, which is richer and more versatile here than ever before. [No.91, p.51]

The anthology does yield insights, especially where Mar is concerned. [#82, p.51]

The rest of Pleiades isn't so memorable [as "further"], but it's never less than pleasant and frequently pleasurable. [#82, p.53]

Peel back the layers, and you're confronted with a wealth of oft-unexpected sonic exploration. [#90, p.60]

It's easy to get caught up in TEEN's dreams without completely falling asleep, a tough act to follow with so many similar acts just simply getting lost. [#90, p.61]

There's no "Cinnamon Girl's" here, but "Farewell American Primitive" and "Only In My Dreams" breathe the same catchy air. [#90, p.53]

The Antibalas crew is in peak form, plating circles around any other second-wave Afrobeat outfit in town. [#90, p.53]

Hot Cakes isn't really trying to be funny so much as just plain fun. And it is. [No.90, p.55]

[Four has] the density that made Bloc's angular edge so full, rich and round in the first place. [No.90, p.54]

Some of the most compelling, essential rock music of the era, period. [No.90, p.61]

Ascent is an album that manages to find the perfect harmony between the normal and the weird, the dirty and the clean, the psychedelic and the straight. Put it in your psych-rock emergency kit. [No.90, p.60]

Researching the Blues is masterfully produced and keenly performed. [No.90, p.60]

It's an LP full of computerized, Auto-Tuned dance-pop anthems, perfect to drive the kids at junior prom into a frenzy. [No.90 p.59]

Although the harmonies and pickin-skills are still top-notch, Carry Me Back falls short in songwriting. [No.90, p.59]

[The album is] really fun. You don't have to know about 12-tone serialism to appreciate the wonderfully goody innards of this appropriately titled compilation. [No.90, p.59]

The band is beyond tight, and not only does singer Bruck Tesfaye possess the requisite mellifluous diction, he has an impassioned delivery that reaches effortlessly across language barriers to collar anyone ready for a good time and haul them willingly onto the dance floor. [No.90, p.58]

Occasional exotic loop or surprising flair aside, the rest [aside from three songs] is listenable, charmless and pointless. [No.90, p.58]

America is both a progression and a departure for Deacon: an album rife with danceable party music, but also a deeply political gesture. [No.90, p.56]

A super-catchy mix of stadium-rock bombast and punk simplicity. [No.90, p.57]

Major comes across as the next logical chapter for one of music's most-unique and positive forces. [No.90 p.56]

Heavy, haunting and wholly captivating. [No.90 p.56]

Sadly, Beams doesn't show Dear changing up his game in any meaningful way. [No.90 p.55]

All at-once nauseating, delectable and habit-forming. [No.90, p.55]

Tracks like "Fading Dawn" hew closer to Barn Owl's sound, with the instrumentation a little less cloaked, but meditative forays like "Absteigend" are the biggest successes here. [No. 90, p.54]

There's a duality to Fragrant World that, sized up alongside its two predecessors, reveals an inherent character trait and a more troublesome trend. Bad songs turn into good songs, and good songs turn into better ones. [No.90 p.51]

With its disjointed turns, it plays like a score to a David Lynch film: sinister, with moments of beautiful and icy-cool respite... Highly recommended.[No. 90, p.52]