Not just an album that revisits the dancey guitar-pop that made "Float On" an unlikely #1 hit, but sharpens and emboldens it for their most accessible album to date. [#16, p.93]

The rawness is a treat for fans to hear what this album might’ve sounded like if she had continued in the raw, guitar-based style of Dry, Rid of Me, and 4-Track Demos.

Tight when they need to be but loose enough to explore the cosmos, Deerhunter sounds reinvigorated by the new attitude.

It’s also apparent to anybody with an open mind and ears that they have the legs to carry on crafting melodically uplifting idiosyncratic earworms for as long as it remains fun.

There is a certain confidence inherent in these tracks, as if Smith had finally proven to himself that he didn't need to try to outdo The Beatles in his arrangements. [#7]

Paul infuses these portraits with poetic, often solitary, grace, manifesting her resilience in searing, distorted guitar textures and her longing in wounded, doleful melodies.

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.

Altogether, An American Treasure is the perfect posthumous compilation for an artist that deserves a perfect posthumous compilation. It reminds you of the fire Petty started out with and the dignified songwriter he became, and how he never lost a step.

Dear John is Svanangen’s true masterpiece. [Winter 2009]

More sonically and lyrically ambitious than 2005’s I’m Wide Awake, It’s Morning and more fully realized than the scattershot Digital Ash In A Digital Urn, Cassadaga is Oberst’s most affecting and challenging full-length to date, and proves that he’ll be a defining figure in folk music for many years to come. [#17, p.83]

Mitski has not only created her most cohesive, accessible, musically diverse album yet, but also an arresting work of substantial beauty.

Warnings is a triumphant, timely, and life-affirming return.

To Pimp a Butterfly is Lamar firmly embracing his place at the pulpit, looking into himself and out into the world simultaneously, and using his influence to paint a powerful, enduring picture of the black American experience. He's ringing the bell, letting us all know that the chickens are coming home to roost.

Narrow Stairs proves that with Death Cab For Cutie, it's possible to relax and let them do their own thing. Which is a remarkable thing indeed. [Spring 2008, p.75]

If you appreciate intelligent and literate lyrics, and are not put off by theatrical orchestration in your pop songs, then this is as good a Divine Comedy album as any to immerse yourself in the considerable talents of Neil Hannon. [#7]

Ghosteen is an almost supernaturally wonderful record. It is, perhaps, the ultimate Nick Cave album—yet somehow unlike anything he has done before.

Blur have proven the exception to the tired formula of the heritage rock revival by releasing a brilliant, brave, and perhaps most importantly, truly creative album just when it was least expected.

For 50 minutes, Rage Against The Machine is in superb form, showing that its vision was strong from the start. [Jan-Feb 2013, p.92]

Parc Avenue was carefully constructed to open your eyes to the subtle beauty of everyday life and it suceeds effortlessly. [Spring 2008, p.84]

Maybe In Rainbows is their life--settling into things, creating permanence. If so, we may grow to miss the anger and the striving and the discovery that comes as a result. But for now, we can enjoy the beauty of Radiohead understanding their identity and the craftsmanship that lies in comfort.

Stripped for much of the time of the horns and orchestral adornment of the first disc, Newsom turns a celebration into a confessional. Just when it seems Newsom couldn't possibly have any more rabbits in her hat, the third disc contains some gospel flourishes that concentrate her voice in a whole new way, bending down low to grab some bit of soul.

Joy as an Act of Resistance (and who, pray tell, can resist a title like that?) is one of the defining moments in modern punk and, with any justice, will stand as a testament to the working classes of the world and prove that new rock music is still being produced that can reach into your chest, tear out your heart-and then give you a great big hug that makes you feel like everything might just be alright in the end.

This is emotional anarchy at its prime--urgent, passionate and honest. [#7]

An indie epic smeared with doubt and guilt that flows out of a forced smile. [#10, p.113]

This is likely to be the most fun release of the year. [Winter 2008, p.84]

At its heart, The Overload is a hugely impressive debut bubbling with sardonic wit, wisdom, anger, and compassion.

Modern Vampires of the City is their best album to date, one that should not only maintain their level of popularity but elevate it.

Tones of Town carries the precision, sophistication, and sense of fun that made predecessor brainy pop bands like XTC so damned good. [#16, p.91]