Less ambitious than the album that spawned it, but a worthy companion piece nonetheless. [Nov 2013, p.71]

The reggae-tinged "Fol-de-rol" is a definite low, but elsewhere this is a competent, if unsurprising, effort. [Nov 2013, p.71]

[Fuzz is] eight glorious tracks of heavy, frantic and, yes, extremely fuzzy, proto-metal. [Nov 2013, p.71]

Despite the defiant attitude and serious subject matter, their excitably chaotic squalls, leaves a trail of sonic pile-ups too often both predictable and over-familiar. [Nov 2013, p.72]

The Julie Ruin are best when playing it a little goofy. [Nov 2013, p.74]

A bit of editing might not have gone astray, but it's hard to begrudge McCombs space to roam when his horizon is so impressively broad. [Nov 2013, p.75]

Overlooking the rare lapse into anodyne mellowness, it would appear Evelyn's got his future-soul mojo back. [Nov 2013, p.75]

Dan Lopatin champions sounds that fall between futurological cool and nostalgic resurrection, and here takes them to a new level of melamine gloss. [Nov 2013, p.76]

There's the sense that primarily, they're out to please themselves, but that's of little issue when the result is a string of three-minute knee-tremblers played with excellent chops and plenty of gusto. [Nov 2013, p.76]

Fabricius presides over a judicious mix of Urban Outfitters indie, finger-picked folk and offbeat electro that demonstrate her range and leaves the listener drowning in honey. [Nov 2013, p.76]

One of his better efforts. [Nov 2013, p.75]

It's as powerful as it is invigorating. [Nov 2013, p.67]

While "Incense At Abu Ghraib" has a horror auteur's knack for intimidation, a shrill whistle barely masking the sound of feet on metal stairs. It's masterful, though it'll leave you feeling like a speck of gravel in self-destructing world. [Nov 2013, p.72]

There are some beautiful moments here.... Also some difficult ones. [Nov 2013, p.67]

It gets a bit ploddy at times, but their knack for a good tune, a sweet harmony and the odd fiery guitar break keeps it all on the right side of mellow. [Oct 2013, p.75]

Like much of the rest of this fine record, [final song, "It's Summertime Again"] sounds like a forgotten hit beamed in from some beatific version of the past. [Nov 2013, p.77]

[Working with four young producers] isn't necessarily an ideal recipe for coherence, but [Giles] Martin--the producer of the music for Love, Circue du Soleil's Beatles show, and for the Rock Band video game--keeps it under control.... with each song treated as an individual entity and allocated its own musical resources. [Nov 2013, p.64]

Last Night is ambitious, mature and noisy. [Nov 2013, p.78]

Over the long haul, it occasionally falls in the nebulous place twixt atmospheric and song, but "Paper Trails"--the Delta blues seen through an xx-like electronic sheen--is a thing of fine-wrought beauty. [Nov 2013, p.68]

An oddly uneven set. [Nov 2013, p.67]

One Breath is a boldly cinematic work that is filled with passion and drama. [Nov 2013, p.67]

Impressively, in a nod to Avery's crowd-pleasing and circuit-bending skills, this is a techno album that seldom sags. [Nov 2013, p.65]

As powerfully new wavey as 2009's Backspacer at the start but also a testament to the band's more oddball meandering elsewhere, the commitment of Eddie Vedder's delivery brings a veracity even to some of the more ponderous ballads that can be the band's mature years default position. [Nov 2013, p.76]

You may well own these already, but the value of this collection is as a portrait of the artist through time, and a compilation of the irresistible outpourings of a man who never really knew who he was. [Nov 2013, p.83]

While the overall sound is massive, it's become somewhat restricted in tone and texture, most tracks careering towards climaxes of cacophonous synth whines and heavy rock guitars, a narrower palette than on previous albums. [Nov 2013, p.66]

Hoodoo is spellbinding stuff, a new high mark in a delightful late-career renaissance. [Oct 2013, p.64]

A records that spurts gloriously in all directions. [Oct 2013, p.65]

Hook-heavy hummability abounds, but most interesting are the newer "My Song" and "Let Me Go"--darkly atmospheric chunks of contemporary R&B/Hip-pop. [Oct 2013, p.68]