Including essential ’70s albums like Zuckerzeit, Sowiesoso and two classic Eno collaborations, this killer collection shows Cluster refining its minimalist, electro-acoustic, programmed, studio-pop improvisations in urban and rural environs. [No. 131, p.53]

On their fifth album, the ’Hangers burrow deep into the world of post-garage pop that feels not too far afield from Georgia indie-rock kin Pylon covering Suzi Quatro. [No. 131, p.55]

An epic, potentially epoch-making release. [No. 131, p.53]

While the current incarnation knows its strengths and weaknesses; Nocturnal Koreans is the latest in a late-career winning streak the band has been on since 2008’s Object 47. [No. 131, p.61]

The Ship is delightful in every fashion. [No. 131, p.55]

This sounds like grim stuff, but Gordon and Co. come off less dour than agitated, and even on its slower tracks, Beauty Already Beautiful has a lot of current running through it. [No. 131, p.61]

Marissa Nadler’s sixth studio record finds the Boston-based singer creating beautiful, sweeping songs that feel as ethereal as the last dream before dawn. [No. 131, p.59]

His penchant for quirky arrangements remains in place, as does his gift for shrewd lyrics and dark, ironic humor. [No. 130, p.55]

Hold/Still tries so hard to be ominous that it almost always forgets to be interesting. [No. 130, p.61]

Pollard's songcraft remains intact regardless of presentation. [No. 130, p.61]

Musically, long-time fans will appreciate that very little variation has been mad on their theme. [No. 130, p.61]

Pere Ubu was changing rapidly, but this is shrewd stuff on which the band built its legend. [No. 130, p.61]

Unforgettable choruses and custom Yorn finger-strum pattern are abundant. [No. 130, p.60]

This is a record packed to the rafters. [No. 130, p.58]

Moderat's pop ambitions are clear. And mostly fulfilled. [No. 130, p.59]

The reanimated sludgefest is no mere quaint time capsule; music this brutally elemental is as eternal as the stars and as fresh as the debuts of Black Sabbath and the Beastie Boys. [No. 130, p.59]

Ultimately, it's a delightful indulgence--you're never quite convinced that Turner's about to quit his day job--but a hugely enjoyable one, and Arctic Monkeys fans, in particular, will devour this. [No. 130, p.59]

With Hitch, the Joy Formidable has expanded its sonic palette and subsequently zeroed in on its ultimate sound. [No. 130, p.57]

Love Streams is a more amiably cluttered affair: bolder, stranger and, at times, considerably more bewildering, but with an ultimately playful, exploratory guiding spirit. [No. 130, p.57]

While Gibson is often humane, she's not always gentle. [No. 130, p.57]

The Wilderness maintains the group's signature sound but imbues its widescreen soundscapes with a newfound patience. [No. 130, p.57]

Post Pop Depression comes across like a third Pop partnership with Bowie, only more brutal and more elegiacally touched by the shadows of the smiles in Pop's memory. [No. 130, p.56]

There's enough here to keep diehard Coral heads satisfied, but a little more of the band's mercurial waywardness would've been welcome. [No. 130, p.55]

The group's 17th album sounds as fresh and over the top as anything it's ever done. [No. 130, p.55]

While his gloriously grizzled voice remains probably the most majestic instrument in the entire 21st-century retro-soul arsenal, and the Daptone mob mete out many more-than-serviceable grooves for him to rap atop, Changes offers no real shake-ups. [No. 130, p.55]

The Hope Six Demolition Project is yet another remarkable PJ Harvey effort. [No. 130, p.54]

On One Day You Will Ache Like I Ache, Full Of Hell pushes The Body to tempos that the doom-metal twosome rarely attempts. [No. 130, p.53]

No One Deserves Happiness is even better [than One Day You Will Ache Like I Ache]. [No. 130, p.53]