What's striking is how her voice, which once epitomized the prototypical fair young maiden, remains just as compellingly austere. [No. 138, p.55]

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

This new one sounds happily like a distillation of the best of Slowdive. The effects--and the effects pedals--are still dreamy. [No. 143, p.61]

On the band's latest, they continue the move toward the tighter concision found on 2009's King Of Jeans, but unlike Pissed Jeans' previous efforts, there isn't a seven-minute dirge on Honeys. [No. 95, p.51]

On Dilate, Bardo Pond does the trick by adding a bit of restraint and space to its familiar blend of Iommi-grade riffing, volume-induced overtones and Isobel SOllenberger's inimitably blasted moan. [#49, p.69]

With its plumb-pretty songs, Mouthfuls will be part of the Smithsonian's year 3000 exhibit on white people. [#59, p.95]

Ward's far-ranging sound transcends the room.... If only his lyrics were as fresh. [#58, p.106]

Serves as an excellent introduction to the power and eclecticism of this veteran Balkan brass band. [No. 89, p.52]

There's no flashiness here, but a slow-burning passion makes this record smoke. [No.99, p.56]

It's sharply focused--and sonically beautiful--but also abstract, with an open-ended feeling to the swooping voices and lyrical ambiguities. [No. 145, p.51]

Part prog, part punk and part reefer haze. [#60, p.106]

Non-converts will probably find it all a little too overtly stylized, but there's no questioning the singer's focus and dedication, and it's a worthy addition to the Rowland legend. [No. 104, p.54]

Harcourt holds nothing back, transcends theatrics and reaches the top. [No. 135, p.59]

This is the first time since 2003 that Elverum fully succeeds in casting a meditative spell strong enough to suck everyone listing into its singular IRL riptide. [No. 117, p.57]

Overgrown is a fuller, more heated album than its predecessor, denser and more tender. [No. 98, p.52]

Mutilator continues Thee Oh Sees' unprecedented, mind-melting hot streak. [No. 121, p.61]

So low-key that you'd be more likely to slip on it than stumble over it. [#59, p.96]

The real draws here are the stunning fresh takes on some of the finest works to be found in the Antony & The Johnsons catalog. [No.90, p.52]

La Foret sounds like what rock might've become if all the British Invasion bands had hailed from postwar Berlin. [#69, p.112]

It's clear that Vile still has great ambition to make robust, timeless rock--and the songs to back it up. [No. 97, p.60]

Her witty wordplay and ironic humor offers a bit of relief from heartache and confusion that colors the record, but it's those shattered emotions that are the most impressive. [No. 134, p.57]

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]

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]

Historian is another triumph. [No. 150, p.51]

It's best to take each line as a scene, each song an onslaught of images, but embedded indelibly into your brain by hooks that won't quit. [No. 102, p.53]

A dark album that shines very brightly. [#46, p.85]

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

After several years of wandering in the sonic wilderness, Parker has returned to his roots with a velvet-fisted vengeance. [No. 111, p.58]