Get Lost and stay lost.

Yet another firework-filled post-modern work of true art. [#24, p.89]

Trouble in Dreams pulls upon 2006's "Rubies'" emotional strings, and in fact, tugs deeper while still retaining the strange wall of declamatory description. [Winter 2008, p.91]

A masterful submersion in the pop allure of ambient and house music. [#16, p.94]

Random Spirit Lover even crushes "Beast Moans" at points, its arrangements meatier and more satisfying, with an off-kilter Disney otherworldliness and kudzu-dense overlapping keyboards.

Our six-string savior not only makes his guitar do things that will have you forgetting that Page and Plant are never to take to a stage together again; he is also keen to remind us in just whose hands now rests that Hammer of the Gods.

The album serves as an excellent chart of the band's evolution. [Holiday 2008, p.91]

For as much as this collection of songs feels like a band getting together to jam for fun, Break It also feels like one of the more cohesive albums in Bird's oeuvre.

Instead of eight people trying to make many noises as possible, this is the sound of a unified band trying to make the best noise possible. [Winter 2008, p.90]

From the propulsive 'What Would Wolves Do?' to the dub-styled 'Brace Yourself,' the album seems like something to play while driving across the desert at sunset, especially with all the wolf cries in the background from Islands’ Nicolas Thorburn.

With not a sound wasted, James Blake is everything we wanted James Blake to make.

You'd be right to uncover this one.

This is the band's most cohesive, accessible, melodic and lyrically viscous record to date. [#21, p.99]

The fuzzy grooves on the record stand out as sicker and more focused than anything the United States of America or Morricone ever splattered onto a canvas. [#21, p.93]

The new songs are some of the best they've ever recorded, and just finishing this collection is a big testament to their staying power. [#10, p.89]

Like a Lynchian vision, it's darkly mysterious and disconsolate, but essentially human--and it's that sense of the persistence of humanity that lends this work its majesty. [Summer 2009, p.91]

Sure politics can be a bit boring... but the intense symphonic crescedos and bombastic drums on this record are exciting enough to keep even the most apathetic of you on board. [#12, p.103]

Sound System drives home the foursome’s adeptness at boundary hopping, while never forgetting the value of a good hook and a politically righteous lyric.

Perkins is joined by a three-piece ensemble of multi-instrumentalists that do a great deal to boost his soulful ballads with circus-like arrangements, while putting a little extra pep in his step. [Winter 2009, p.96]

Though the sound can come off as aggressive, if not anxiety-inducing at times, it's the tiny revelations that make the vicious drumming, harsh guitars and freaky vocals worthwhile, summing up for an experience that is as delightfully fucked up as it is musically seamless...with unexpected steel drums making appearances in between.

A headphone masterpiece. [#25, p.94]

Another smartly executed step into the strange grandeur of Mr. Waits. [#12, p.94]

This is meat and 'taters rock mixed with the Devil's blood. [#24, p.90]

Steven Ellison (aka Flying Lotus) manages to ensnare 18 night visions on his latest psych-bass masterwork, Until the Quiet Comes.

Gorgeous. [#7, p.92]

Almost everything about this album is fragile and beautiful. [#24, p.94]

DCFC is becoming a band that's worth noticing apart from Ben. [#17, p.93]

A glorious, towering achievement. [#22, p.98]