On Habitual Leviathans, the group are more powerful than ever: but it’s a confident power that requires minimal chest thumping.

They continue to exercise more craft i their work than newbies a third of their age. [Apr 2013, p.94]

It's an LP that finds the band in complete comfort with in their place in the musical universe and willing to stretch out here and there into slightly uncomfortable postures.

It's a comforting, fuzzy listen. [Apr 2013, p.92]

The rare moments when Bryant shares the spotlight are Wyoming's best and hopefully hint at Water Liars' future. [Apr 2013, p.94]

Particularly great are a few extremely well executed ballads that showcase OWTH's typically gruff sound and Young's typically gravely vocals in new ways. [Apr 2013, p.94]

While electronic music fans are not always a lyrics-first bunch, the sentiments here will probably sound better shouted at Glastonbury or Coachella than examined via earbuds.

The collection is loosely held together by vintage production, making many tracks feel like distant AM radio transmissions. [Apr 2013, p.86]

The result is a collection of gutsy, grizzled blues that pirouettes with broken-hearted defiance. [Feb 2013, p.88]

Farrar backs up his good intentions with an album's worth of strong material. [Apr 2013, p.90]

The Cave Singers find a way to remove the corniness from a jammy folk album, instead building Naomi with honest lyrics and a soothing ramble of guitars. [Apr 2013, p.86]

Confident, unselfconsciously weird and always engaging, Welcome Oblivion is a strange world that will draw you back again and again. [Mar 2013, p.88]

The high points find the Men melding their overmodulated past with their new melodic obsessions. The low points render the band mere pretenders to outfits like Guided By Voices and Spoon. [Apr 2013, p.90]

The core of any Low album, though, is the unearthly beauty of Sparhawk and his wife Mimi Parker's vocal harmonies, which, after 20 years, have lost none of their emotion-stirring power. [Apr 2013, p.90]

Images Du Futur lacks the structural rigor and focused ideas of [Clinic], which prevents the album from having a strong impact. [Apr 2013, p.90]

Exotic without ever being self-conscious, dreamy without ever missing the beat, and serious without losing the capacity for serious fun, Black Sun is a rare and heavenly event in the crowded universe of EDM.

Reverbed aggression never sounded so good. [Mar 2013, p.92]

It's the perfect addition to their ever idiosyncratic and unpredictable repertoire. [Apr 2013, p.86]

This group's self-titled album creates a warm and fuzzy slow burn akin to the glory days of weird post-rock bands like Karate, Lungfish, and Regulator Watts. [Apr 2013, p.88]

It might not be Disintegration, but Optica confirms these Swedes as worthy acolytes. [Mar 2013, p.93]

This is some subversive fun. Baffling, however, is a nearly note-for-note sonic reproduction of the Queen hit "Bohemian Rhapsody." [Mar 2013, p.93]

With Gilbert's powerful pipes and his bang-on production values, Shai Hulud have never sounded better than on Reach Beyond The Sun. [Mar 2013, p.89]

Miracle Mile is a danceable record on its own, but also a reminder to revisit STRFKR's previous albums for a deeper submersion into their cosmic dream world. [Mar 2013, p.93]

[A] successful collection. [Mar 2013, p.91]

Conduit proves that they still have that magic, albeit in a more hit-and-miss manner.

Marriage is an album best served by deep listening on a good pair of headphones. [Mar 2013, p.92]

It ain't pretty, but the intensity is undeniable. [Mar 2013, p.92]

Temper Temper probably sounds great played in an arena. But on the stereo, it just isn't enough. [Mar 2013, p.90]