Through the dark, Cohen smartly questions everything from the prickly possibilities of future romance to, quite possibly, the sacred Zen Buddhist religion where he once solidly and stoically placed his faith. [No. 138, p.51]

Tastefully rendered and thoughtfully executed, American Dreamer invites you into its loose embrace while still maintaining a certain emotional distance. [No. 135, p.59]

Autumn is as solid an effort as any in its catalog. [No. 135, p.

The most psychedelic moments on the album come during the long instrumental fades on tunes like "Silence Can Say So Much," "Cast The First Stone" and "Love Is Like A Spinning Wheel," but the middy instrumentals mix often mashes the sounds together into an indistinguishable pulsation of spacey sci-fi noise. [No. 137, p.55]

As 1991 albums go, Out Of time in its own way is an era-defining as Nevermind, Loveless or Spiderland. [No. 137, p.58]

Daniel Bachman is the guitarist's most emotionally complex and stylistically integrated work to date. [No. 137, p.53]

The songs sound fresh and spontaneous, gull of a delicate passion. [No. 137, p.53]

Only the last song, Wild Sun's straightforward, vulnerable take on "Easy Way Out," finally hits the mark. [No. 137, p.61]

Worth a listen, for Ween fans and armchair guitar heroes alike. [No. 137, p.61]

Spektor's knack for orchestral arrangement is more vivid than her writing here. [No. 137, p.61]

The songs are quiet and emotionally intense, and they unfold like a collection of short stories in which characters and themes recur and play off each other. [No. 137, p.60]

Easily the most vibrant they've ever sounded. [No. 137, p.59]

Alone's as good a Pretenders record as has been made. [No. 137, p.59]

Consider the jarring Highway Songs a retrenchment in the wake of its creator's publicly nightmarish 2015: the album as spirit quest, as bridge. [No. 137, p.59]

Their playful mutability keeps them from being genre exercises and makes I Had A Dream a delight. [No. 137, p.57]

FLOTUS is unexpected, occasionally inscrutable and fascinating. [No. 137, p.57]

Walls could be their portal to lingering greatness. [No. 137, p.57]

This is a mature work. [No. 137, p.54]

Perhaps both the best and worst you can say about Revolution Radio is that it sounds exactly like Green Day. [No. 137, p.55]

Too frequently, though, the new material doesn't have the constitution to withstand the heavy hand of producer and former Dawes guitarist Blake Mills. [No. 137, p.55]

Naked and nearly innocent, the raw talent of Buckley is finally revealed. [No. 137, p.53]

After the actors have their poignantly emotional say, it's Bowie's own tremolo-rich, baritone voice and the noir-art-industrial-jazz band he employed on Blackstar that top off Lazarus stage-songs. [No. 137, p.53]

LP2 is certainly worthy of standing next to a genre classic. [No. 137, p.53]

Vernon's gorgeous falsetto and vice grip on melody hold it all together beautifully. [No. 137, p.52]

No, we haven't heard this Cave before, and though magnetic, emotive and tenderly merciful, one prays for his sake that we never hear it again. [No. 137, p.51]

So well-versed are Jacuzzi Boys in hooky guitar pop that their boisterous personalities occasionally get lost in the mix. [No. 137, p.55]

There's nothing else like it, and once you listen, you'll never forget it. [No. 136, p.61]

There's not an ounce of flab on this record. [No. 134, p.60]