Skinner seems both edgier and more contemplative.

A dandy little 36-minute album of simple pop tunes with all the right moves and no real motion.

This song cycle is less about a particular state than it is about Stevens' elegant façade of cleverness.

[A] blindingly good debut.

An energetic and original statement.... Essential.

This music has the serene lilt of pop and the hope of sentimentality but also the gravity of unconventional responsibility. Rather than roaring, this music sears.

The only complaint to be lodged against Bachelor No. 2, other than its partially duplicated track listing, is the mid-tempo groove from which Mann rarely extricates herself.

Where Shall You Take Me? brings Jurado back to familiar, minimalist territory.

In Rainbows is a richly textured and resonant record. In a career marked by dramatic reinvention, Radiohead’s latest phase — growing old gracefully--is going quite well.

Cave has hinted at a more mature sound on the last few records; here, it comes across in richer, bolder arrangements, the result of his band's more active role in developing the songs.

Antony and the talented Johnsons brilliantly evoke the grandeur and dolor of cocktail hour ennui.

This is probably as close as anyone has yet come to achieving the visions of revolutionary global pop once advanced by the Clash and Afrika Bambaataa; it's equally enlightening to urban street kids and university eggheads.

When the music is fully operational... the potential for greatness is obvious.

A rewarding, resonant album, Neon Bible ranks among the best indie rock recordings of all time.

Stevens' most personal and focused album.

A second disc which recaps some of the prior singles and B-sides resonates wonderfully, and provides a contrast for the new material, which is the same only better, faster and harder.

Phenomenal, with nary a bum track.

The production is lush and detailed but the songs are strong enough to withstand all the fuss, making this a most ambitious and accomplished record.

It's hard to imagine any other band with as much indie cred that could succeed with this material; it would be too audacious.

Two albums of E musings is a bit much, but, on the whole, Blinking Lights does stand as a resounding return to form.

The propensities for treacle and brimstone are cut by the realism of his portraits and the certitude in his voice. A Nick Drake-like wonder here, it is sonorous, even-keeled and assured.

Whereas Music Has the Right to Children's pastoral atmospherics were airy and open, Geogaddi is faintly claustrophobic and tense.

Takk... resembles the movie The Aristocrats: a narrow selection of material given killer performances.

It's like everything that has always been great about the Red House Painters made a notch or two more exciting in the studio.

Clap Your Hands Say Yeah is worthy of the attention, as it reveals a band of great ability and confidence brimming with ideas.

The album navigates effortlessly from peak to peak.

Brimming with confidence and good humor, Don’t Do Anything is another high point in a career that threatens to become overstuffed with them.

A calm triumph.