Margot seems abundant in earnestness, pulling together hooky, shoegaze rifts ("Disease Tobacco Free") with dulcet guitar tunes ("Frank"), Tim Kasher lyricism ("The Devil" and a lonely piano ballad ("Christ"). [No. 86, p.56]

A suite-like meditation that is emotionally expressive and impressively nuanced.[No. 86, p.55]

La Sera tips it bonnet to the long-gone AM-radio sound of the '60's girl groups but with ... guitar noise and snarky attitude. [#86, p.55]

There's an easy likeability to Great Lake Swimmer's latest release. [Yet] many songs don't hold up on repeated listens. [#86, p.54]

Only when [Earle] tries to escape his tuneful-yet-limited vocal range do the songs struggle. [#86, p.54]

Sharp and well-recorded, but although Rebennack's distinctive voice is featured front and center, there's a sacrifice of his artistry. [#86, p.53]

The band lives up to its rep as a tight live act. [#86, p.53]

Rhine Gold doesn't sound like it's trying to create another emo anthem, which gives its tracks a genuine, unaffected quality. [#86, p.53]

A sensational album by a band willing to take risks, Both Lights offers an exhilarating glimpse at pop music's future. [#86, p.52]

Packed to the brim with moments of tonal and melodic transcendence. [#86, p.51]

This disc is pure Stewart - urgent, visceral electro-protest for the 21st century. [No. 85, p.59]

It's a wonderful-sounding record, too, lushly textured... and one that demands to be played at full volume. [No.85 p.61]

His voice sometimes veers into brief, impressionistic Lou Reed talking or Mary Gautier twang, but mostly it's seductive. [No.85, p.61]

Guitars meander before slicing, the rhythm section is taut, and Gedge hits all of his favorite topics-love, lust and spite-often in the same three or four minutes. Gedge may never get this relationship stuff figured out, but at least the rest of us benefit. [No.85, p.60]

White Hills [cuts to the chase;] the tempos are quicker, hooks more insistent. [No. 85, p.60]

Completists will be sated - as they invariably are - by this fun, beat-happy collection. As for the less fanatical fans, caveat emptor: This is a return to the primitive.[No. 85, p.60]

Trullie sings in a lovely alto; it's a shame to see her voice wasted on something so overwrought [opening song, "Rules we Obey]... and boring ["Madeline"]. By the time the enchanting harmonized refrain kicks in, you're probably long gone. [No. 85, p.60]

It's a set of slow, deliberate vamps that oh-so-gradually gather tension; they smolder, but ... rarely burst into flame. [No. 85, p.59]

A stellar first attempt at a concept album... [a] ghoulish delight. [No. 85, p.59]

Fans will love her subtlety and clean new sound, but someone just coming on board might not find this an essential listen. [No. 85, p.59]

Seems shambled and unfinished. [No. 85, p.58]

An enchanting collection teeming with well-crafted hooks and fiery passion unheard since the epic, under-appreciated Faith and Courage a decade ago. [No. 85, p.56]

The heady combination of orchestral maneuvers, spiritual posturing and drone-imbued psychedelia make this a seductive listening experience. [No. 85, p.56]

Album number two pulls back from that musical and writerly intimacy [found on the debut] - if only slightly - trading a degree of specificity for a degree of universality, and adding just the faintest touch of gloss. [No. 85, p.57]

The synths are crisp and warm, and the beats are motivational in that '80's coming-of-age soundtrack way. [No. 85, p.57]

Karlsson and Winnberg's focus on gentle, warm sonic tones and catchy hooks should reassure fans of tracks like "Animal" and "Burial" that everything is under control. [No. 85, p.57]

Very clearly the work of art-school kids who use their skills for creating alluring visuals to craft equally enticing music. [No. 85, p.56]

[The album presents a] well-formed, poppy and updated take on their post-punk and new-wave heroes. [No. 85, p. 56]