Play[s] like a remember-the-'90s rundown. [#58, p.98]

A near-perfect record to hold onto with all the might you can muster. [#58, p.103]

A half-hearted attempt to outshine 2001's A Better Version Of Me, but lacks all the "Spit And Fire" that made that album so human. [#58, p.105]

Predictable. [#57, p.105]

The unintentionally hilarious Mount Eerie misfires so dramatically, it makes you want to reconsider not the Second Amendment but the First. [#57, p.98]

For all its attempts at hipster currency, Evil Heat reveals the needle-shaped creative hole where the drugs used to be. [#57, p.102]

Turgid at best. [#57, p.102]

She's a ghost in the machine; unfortunately, the machine is an Atari 2600. [#57, p.80]

Nowhere near as strong and complete as Bewilderbeast, but its best moments burn just as brightly. [#57, p.81]

Could be a Tortoise record with vocals. [#57, p.81]

Easy listening has never been this painful. [#57, p.106]

Like a handful of Flinstones Chewables, Velocity is sugary, prehistoric and well-intentioned, but Apples don't make a meal. [#56, p.78]

Offers little bits of everything Luna does well. [#57, p.93]

Even at 42 minutes, it's hard to take iin at one sitting. But it recalls ambinet Eno and Nurse With Wound's Spiral Insana by effectively blending abrasive elements with moody atmosphere. [#56, p.101]

Shallow and superficial. [#56, p.101]

A beautifully dark masterpiece. [#56, p.99]

Seems a transitional work connecting As Above to the future. [#56, p.78]

O'Neill's voice is so perfectly suited to the material that you can hear single spour forth like rain. [#56, p.109]

The album fares best when Evelyn lets his sampler do the talking. [#56, p.101]

The playing is imaginative, the ideas vibrant and shimmering and the band's considerable melodic gifts sabotaged by either willfully obtuse compositional tricks or outright punk bratiness. [#55, p.84]

Fully realized tracks such as "Affection" and the peppy "I'm A Vampire" are so fetching that they eclipse the rest of Eternal Youth, which is padded with brief, blippy non-songs and is often top-heavy with (literal) bells and whistles. [#56, p.93]

More of the same, yes, but good enough to make longtime fans crank the volume on the way to their divorce hearings while younger converts learn that the rock wasn't born last year. [#55, p.83]

It's as if Steve Miller and the Beach Boys got together, sacked the session players and sang over breakbeats and a thicket of digital clicks and clacks. [#56, p.105]

While every cut is identifiably Spoon and the album will satisfy hard-line fans of the band, a fiery R&B element is now a significant component. [#55, p.88]

The mixed results are troubling. [#55, p.86]

It's everything you ever loved about obscure French and Italian new-wave cinema soundtracks without the stench of rancid popcorn. [#55, p.74]

While the song remains beautifully, remarkably, the same, it's getting harder to like. [#55, p.72]

It runs longer than an hour, and no matter how much you liked the Smiths you probably don't hav ethe patience for that much Gene. [#56, p.89]