Its wide-open sound is full of giant guitars, processed keyboards and retro beats, suggesting a meeting between Lee Hazelwood and Ennio Morricone at the Brill Building. [No. 141, p.57]

Organically crafts sounds that are reminiscent and yet uniquely its own. [No. 141, p.57]

Both [At Saint Thomas the Apostle Harlem and All The Way] elicit a simultaneous sense of terror and wonder as to what demons are flowing through her bloodstream and how she's managed to harness them for the power of artistic good. [No. 141, p.57]

Both [At Saint Thomas the Apostle Harlem and All The Way] elicit a simultaneous sense of terror and wonder as to what demons are flowing through her bloodstream and how she's managed to harness them for the power of artistic good. [No. 141, p.57]

We All Want The Sam Thing is the best of his three solo albums because it lets the music serves the stories. [No. 141, p.55]

Let The Dancers Inherit The Party is slickly produced, dramatic and cohesive but still has the drawback of sounding derivative and overly familiar. [No. 141, p.55]

There are moments that could've been excised, but BJM demonstrates a most robust path when its psychedelia lasers fix onto a starting point and add to the established theme. [No. 141, p.55]

Emperor is solid, dexterously played hard rock from a band that used to crush listener skulls. [No. 141, p.59]

Any doubts that the Old 97's could sustain this creative resurgence are summarily dismissed with Graveyard Whistling. [No. 141, p.60]

A set of wistful, stirring anthems. [No. 141, p.61]

It's best record. [No. 141, p.61]

[An] effortless fourth album, which is every bit as blissfully pretty and/or unremittingly milquetoast as what came before. [No. 141, p.61]

It's never going to set the charts alight, but Weller obsessives should take it to heart. [No. 141, p.61]

Yes, this album is a turophile's dream, but only the most black-hearted cynic could resist joining the party. [No. 141, p.61]

Even in the more sedate moments, there's an underlying insistence that ties the 11-track set together in a typically neat package that sits comfortably and appropriately in one of rock's greatest band catalogs. [No. 141, p.58]

Tillman wisely scales back the orchestration and flourishes to their bare minimum in order to put his voice and lyrics at the forefront. [No. 141, p.54]

The succinct 10 songs on Brood X are all upbeat workouts. [No. 141, p.53]

The album is the reliable mix of shorter, inverted blues-rock dirges and extended workouts one has to come to expect from this well-oiled machine. [No. 141, p.53]

He's all over the phrasing but never sloppily and always expeessively. [No. 141, p.52]

The album, fun though it is, also burns with anger and tension. It's another way Spoon throws into sharp relief what there--and what's not. [No. 141, p.51]

The beauty of Pleasure's vintage danceteria lies in its sharp 21st-century focus and Lerche's consistently reliable songwriting skills. [No. 141, p.59]

If you want to hear him reconciling the roots of his music with a future he hasn't found yet, this is the next fearless step into the future. [No. 159, p.61]

The Universe And Me feels like Sprout’s sonic scrapbook and philosophical star chart folded into a single stellar statement. [No.139, p.60]

It all comes out pure, 100-proof Godfathers, as hard-rockin', contemporary and fresh-sounding as ever. [No. 139, p.55]

Love If Possible is a delightful confection, and Sakamoto keeps it just the right amount of sweet. [No. 159, p.59]

Not as intentionally abrasive as its predecessor, 2013's Testimonium Songs, even if the new record also opts for clangor and heard edges over tuneful song structures. Still, if He's Got is noisy, it's not unmelodic. [No. 159, p.58]

Smashing. [No. 159, p.57]

This is very tasty Coffey. [No. 159, p.53]