This seventh official LP is definitively their best so far. [Oct 2013, p.113]

Supported by appearances from My Morning Jacket's Jim James, Neko Case and kd lang, Veirs still manages to find the magic and wonder in the big bad world. [Oct 2013, p.112]

A hit-and-miss affair that sporadically hints at what the man is capable of. [Oct 2013, p.111]

They run short on tunes during the album's second half, but by powering through 10 songs in 33 minutes they at least opt to burn-out rather than fade away. [Oct 2013, p.110]

The overall impression is one of a garbled sonic soup. [Oct 2013, p.110]

The vocals are more textural than Blake's, and Stefanski's electronic textures are as distinctive as his instrumental releases, giving this a strong personality all of its own. [Oct 2013, p.110]

It's a winningly demented mix of ADHD garage rock, wonky psychedelia and massive, foot-on-monitor guitar riffs. [Oct 2013, p.109]

It's only on a frazzled but euphoric Raise Your Head that DeLaughter achieves the sonic rapture the Spree promised from the outset. [Oct 2013, p.109]

Live At The Cellar Door is the sound of a man enjoying his self-imposed set of limitations. [Feb 2014, p.121]

This is a luxurious but ultimately hollow Faberge egg of a record. [Feb 2014, p.121]

There is a whiff of leftovers to You Don't know Anything's six songs. [Feb 2014, p.120]

Trad country and honky tonk duke it out with outlaw attitude and roadhouse rock, a high ground meeting point between early R.E.M. and Drive-By Truckers. [Feb 2014, p.120]

Creatively there are signs he's struggling to keep it up. [Feb 2014, p.114]

Its riveting, yarn-spinning intimacy enhanced by the singer's dry patter. [Feb 2014, p.113]

Without any shifts in emotional temperature, You Gots 2 Chill follows the thread that connects homespun to woolly. [Feb 2014, p.113]

A joy in itself, but watching the accompanying film to experience the full audio-visual wallop is a must. [Feb 2014, p.113]

Even the welcome presence of Boston's original singer Brad Delp, who committed suicide in 2007, can't save it. [Feb 2014, p.119]

Not oversold, sensitively handled and direct, consider the tribute a success. [Feb 2014, p.112]

It's a one-tempo caramel cream of an album--sticky-icky and irresistible. [Feb 2014, p.110]

There's comfort in the intensely melodic Surfer's Lament, and if there must be impossibly soapy love songs, they might as well be as lovely as My Heart Belongs To You. [Feb 2014, p.119]

It's the most consistently enjoyable Malkmus/Jicks LP since his excellent self-titled album of 2001. [Feb 2014, p.117]

Not for the casual listener, but enormously rewarding if you hanker for some NY loft space in your croft house. [Feb 2014, p.115]

They're better when operating at full-throttle, as on the muscular Blood and carefree Our Ego, but for music intended to elevate, the rest remains strangely earthbound. [Feb 2014, p.118]

[Linden's] breathy vocals elevate these warm, enveloping songs to a richer level. [Feb 2014, p.116]

When it swells and soars, it doesn't just work. It werks. [Feb 2014, p.115]

The laser-guided synth-pop of The Natural World, hip-thrusting disco epic Like An Animal and Erosion's Invocation of early New order all pulsate with the excitement of a band discovering new capabilities, even if Cleverly's somewhat histrionic vocal style can take some getting used to. [Feb 2014, p.115]

The panoramic melancholy may lack variety for some, but sorrow rarely sparkles this wonderfully. [Feb 2014, p.112]

This beautifully-packaged set certainly provides the perfect overview of that fine series of records. [Feb 2014, p.125]