Utter desolation never sounded so lovely. [Apr 2012, p.84]

It's the more spartan, folksier tracks, like "Greeny Blue," that hint at better things to come. [Apr 2012, p.81]

Knapp's sweet voice is closer to Olivia Newton-John than [Stevie] Nicks, but nevertheless tracks like "Glasses High" and "The Right Place: have abundant charm, some superb, glowing arrangements. [Apr 2012, p.81]

It's among his best. [Apr. 2012, p.79]

The album's centerpiece is the autobiographical 10-minute "Colfax/Step In Time," a richly detailed remembrance of a run-in between his high school marching band and the KKK. [Mar 2012, p.84]

Even more affecting are those tracks where he keeps things simple. [Apr 2012, p.83]

At two hours, it's a lot to stomach, but worth staying for the closing "Streets Of Fire," a love song that trickles tears over the end credits. [Apr 2012, p.87]

Great, if a little pointless. [Apr 2012, p.77]

Hardly revelatory, but compelling in its sustained vision. [Apr 2012, p.73]

Mitch Ryder here astutely merges heartbreaking social realism with accomplished, funky Motown/James Brown grooves. [Mar 2012, p.97]

Anglo-Saxon sextet Sweet Sweet Lies dress nasty themes in sweet acoustic melodies and sharp suits. [Mar 2012, p.98]

No doubt Arnstrom can craft an uplifting tune but his simpering tone ultimately suggests The Whitest Boy Alive being kicked in the face with sand. [Apr 2012, p.84]

It works well enough that when "Falling Away" pastes on some broiling guitar feedback, it sounds almost superfluous. [Apr 2012, p.77]

It's remarkable that the cosmic Ekstasis--recorded in Holter's home with only five musicians--feels surer of itself than Tragedy, a record rooted in millennnia-old practice. [Apr 2012, p.72]

Breton are distinctly maximal, all corrosive guitars, callow vocals and beats jutting at awkward angles. [Apr 2012, p.73]

It's certainly a brave move to furnish it with such exotic pieces, but one that pays off beautifully. [Apr 2012, p.81]

It's the most potent sound to come out of South Africa since DJ Mujava's '08 left-field hit on Warp with "Township Funk." [Apr 2012, p.82]

Most of the songs are breezy reflections on romance--even two Q-Tip productions lack bite--but its melodious artiness is engaging. [Apr 2012, p.84]

The pair's [singer James Mercer and producer Greg Kurstin] pop instincts ultimately prevail over more esoteric ambitions. [Apr 2012, p.86]

The loss of drummer Ryan Sawyer has gutted their alt.rock muscle, making Out of It less visceral, but ultimately more singular, affecting and timeless. [Apr 2012, p.87]

That Gedge remains, at 51, stranded lyrically at a romantically disappointing post A-Level party is less cause for celebration. [Apr 2012, p.88]

On their second release for Thrill Jockey they sometimes clear space in the pummeling blizzard of delay, fuzz and reverb. [Apr 2012, p.88]

The second full-length album is richly textured and exceedingly complex in its arrangements. [Apr 2012, p.75]

McCarthy's catharsis is often gripping. [Apr 2012, p.88]

Sometimes the union flourishes, but at times it's a grab-bag that's fallen apart at the seems. [Apr 2012, p.87]

It's a solid rather than spectacular effort. [Apr 2012, p.87]

The exhilarating collision of muscular breakbeats and ripe trance synths makes this one of the most enjoyable dance albums in recent memory. [Apr 2012, p.84]

Think Veronica Falls meet Arthur Russell, and investigate further. [Apr 2012, p.83]