Following in the footsteps of disc one, the trio show off their creative ambitions with slowly shifting waves of meditative, hypnotic, and majestic harmonies and even an occasional melody. The enchanting instrumental pieces never stray too far into the nebulous stratosphere and are well worth the price of admission.

As a whole, Ignorance can carry an audience through beautiful arrangements and atmosphere. However, and perhaps as a result of the beauty of the music and her delivery, Lindeman’s goal of delivering emotional lyrics hits shy of the mark. Instead, we’re left hanging on to every note.

The album spills over with Letissier's confidence and individuality, something she felt wasn't the case during early writing sessions with Mark Ronson and Damon Albarn, so they were cast aside.

Tigers Blood is ultimately about the melding of its component parts into something unquestionably enticing rather than the analysis of its irretrievably mixed emotions.

A wonderfully danceable and euphoric piece of electro-pop that is destined to soundtrack many people’s summers.

Another singular album from a truly idiosyncratic voice, Apple has once again invited us into her lushly conflicted inner monologue.

In Merriweather Post Pavilion, Animal Collective become too fascinated with the way things sound (Animal Collective may be the only band for whom this sometimes becomes a problem) and loses the emotional resonance of their best work. [Winter 2009]

Squid accomplishes an impressive feat of ambition with Bright Green Field, pushing past genre confines to craft something singular, thoughtful, and captivating.

High Land, Hard Rain remains a career highlight.... Knopfler’s production has aged reasonably well, but the cover of Van Halen’s "Jump" (a B-side extra) shows how Frame’s perverse streak could have been managed more creatively.

Albums like They’re Calling Me Home are so effortlessly masterful, so mesmerizing, that the listener can write them off as easily replicable. But the work of Giddens and Turrisi is unique to them. Utterly perfect in its breadth and message, Home is, indeed, where the heart is.

Fuzzy Logic stands up among them as a solid record. Even the reissue was treated with remarkable creative focus and it has 35 bonus tracks, including all the album's B-sides, two demo sessions, and a live festival set from 1996.

These EP tracks are just as good--and often times better--than many of their LPs. [#10, p.109]

HAIM on record comes across best when not overly fussed up or cluttered over and the many standouts on Women in Music Pt. III prove that point repeatedly. The remainder of it could do with some trimming of the fat and taking it easy on the condiments.

The Clean's a;most comical level of prescience just wouldn't mean as much if Anthology weren't a trove littered with gemlike melodies. [Jun-Jul 2014, p.89]

This marks a well-done if not entirely necessary Smiths overview, good for newbies and a big maybe for fans, depending on your collection. [Year End 2008]

It is both her most cohesive release and freshest shift in aesthetics since her transition to pop superstardom. Whether as a quarantine-induced folk detour along Swift’s pop trajectory or as a hint at a new direction for her music, Folklore is an unexpected work of genuine emotion.

Ultimately, the saccharine vocals are forgivable, but those who like their power pop with a little bite may find the sound a bit off-putting. [#5, p.115]

Sounding even sparser in instrumentation and sonic flavor than the previous record, Chutes often comes across like a Mercer solo project. [#5, p.104]

The nine lengthy works contained in the 2-CD/3-LP To Be Kind require an investment of attention. But as with any engrossing film, time isn't a factor, and a full immersion reveals that any abridgments would have lessened these songs' impact.

No Snail Mail fans are going to be shocked or shaken by Valentine’s 10 tracks, but they’ll definitely be delighted at their continued elegance.

Song For Our Daughter is a mature and worthy work to serve as her latest statement. That its simply stated statements resonate all the more in a quieter time go to show that Marling’s instincts to deliver this gift to our doorsteps early were perfectly timed.

It is an effective, and at times exceptional, pop record but while there is much nostalgia to enjoy here, there is precious little of the future.

Divers is almost uniformly lovely to listen to.

Year-end best-of lists, you've been warned. [#10, p.106]

This is music that takes a while to comprehend, designed for longevity over quick appeal. For those of you wistful for this approach, look no further.

At its fiery core, Bad as Me is Waits' most accessible record in decades; essential not only to his hooked fanbase, but to the uninitiated masses.

Where the band's ninth studio album differs from its predecessor, The King of Limbs, is that it's entirely possible--no, recommended--to simply sit back and appreciate its sheer magisterial beauty.

MASSEDUCTION has set the bar high for the rest of the indie rock universe and proves that St. Vincent is a truly unique talent that is both innovative and entertaining.