At the remove of three decades, this album remains as fresh and unconventional as the day the songs were first committed to tape. [No. 147, p.60]

Another fine showcase for her savvy and adventurous approach to both song selection and interpretation. [No. 147, p.59]

American Dream is, in purely sonic terms, their richest, most viscerally pleasurable record yet, rife with layered, polyrhythmic percussion and an encyclopedic array of synth textures. [No. 147, p.56]

The accomplishment is immaculate, but what's harder to sort out is where the real Kelley Stoltz stands. [No. 147, p.61]

The 10 tunes evoke nothing but a good, unusually brisk-feeling and '70s-like Luna record. [No. 147, p.58]

Impossibly, Rosenberg's artistry still feels mysterious, unknowable, capable of surprise. [No. 147, p.57]

1992-2001 functions as a perfect introduction to the band's catalog, bundling tracks from its five albums with nine unreleased songs. [No. 147, p.53]

There remain very few great "lost" albums. Make no mistake. This is one. [No. 147, p.59]

It's not an easy listen--"Greener Stretch" is one of the rare songs that has an immediate hook--but it commands, and rewards, attention. [No. 147, p.61]

The band digs deep to produce 11 sharp tracks, marked by its inventive stylistic hybrid. [No. 147, p.61]

These songs--even the quiet ones--are bold, messy, unflinching, humming with life. [No. 147, p.61]

There Is No Love In Fluorescent Light is not quite as perfect top-to-bottom as 2003's Heart, nor as high energy as 2014's No One Is Lost, but it's still very good. [No. 147, p.59]

20 Years sounds like it was a blast to make. The playful side of the band, which often gets scant notice, is on full display. [No. 147, p.55]

I hear another kid in the time honored-tradition of Paul Weller between the Jam and the Style Council, eager to explore the musical universe without any adults telling him how to go about it. [No. 147, p.55]

As good as IN///PARALLEL is, Harrison leaves you curious to hear how much greater he can be when he really lets loose. [No. 147, p.55]

The trilogy's scarred, scary travelogue defines '70s Berlin as much as it does Bowie in uncompromising recovery mode. ... Brilliant. [No. 147, p.52]

Offering finds the band retooling its sound, and a few songs meander. But at its best--on the vibrant. assertive title track, on the buzzy, fizzy "Recovery," on the swaying, bittersweet "Good Religion"--it rivals Cults' revivalist previous offerings. [No. 147, p.51]

Ease My Mind has some sharper edges and fewer lush arrangements than the last Shout Out Louds album, 2013's equally excellent Optica, but the changes are slight. [No. 146, p.61]

Repeated spins reveal an exotic, intoxicating soup. [No. 146, p.61]

Fear not, this is a kick-ass rock'n'roll record all the way around. [No. 146, p.61]

The band's linear approach might have you pining for an injection of dynamic flourishes, as the songwriting often consists of settling on a single tempo and rhythm and bouncing between two riffs for the duration. [No. 146, p.53]

They produce an extraordinary palette of tone, color and sound as they range through the worlds of rockabilly, early R&B, blues, folk and punk. [No. 146, p.61]

Vega rarely got the opportunity to be heard beyond the underground, so clarity--in passing--was essential. And all the more piercing for it. [No. 146, p.61]

The results are both vintage QOTSA and something unnameable at the same time. [No. 146, p.58]

Orc is a continuation of the careening energy and creativity that has defined the most recent handful of Oh Sees' record, making it one of the most beastly in the bunch. [No. 146, p.59]

It's less an emphatic, assertive statement than a patchwork scrapbook of disparate moods and tunes that, taken as a whole, feels not unpleasantly unfinished, somewhat hazy and dreamlike and understatedly charismatic. [No. 146, p.59]

One of the more important metal releases of 2017. [No. 146, p.59]

Call it the musical equivalent of Cormac McCarthy's similarly brutal The Road. [No. 146, p.59]