Though it won't be every listener's groove, fans of baroque pop's lush overreach will find a lot to enjoy. [No. 128, p.59]

What holds it all together—besides the thematic unity--are Pollock’s vocals, which are clear, unaffected and emotive throughout. [No. 128, p.59]

The pottery kiln warmth of the rhythm section lays a solid foundation for Lobsinger's sensual voice. [No. 128, p.59]

Perfect finds a singular band doing its thing in the way that only it can. [No. 128, p.57]

Their liveliest, most varied offering since their debut. [No. 128, p.57]

Love it or hate it, in her hands or someone else's, Ono's music does what fine art has always done: It dares you to feel. [No. 128, p.54]

On its own terms, Void Beats Invocation Trex is a Cavern worth exploring. [No. 128, p.53]

With the help of producer Jim James, Basia Bulat brings a rich, melodramatic sheen to her confessional tales of woe. [No. 128, p.53]

An album that’s rewarding--and pleasantly intelligent--from start to finish. [No. 128, p.53]

The result is Animal Collective at its tightest, most coherent and poppiest, even as the band draws on '60s psych/pop, rudimentary techno and three-chord punk to build on its ever-evolving sound. [No. 128, p.53]

With each layer adding something to the stew when time on their own endeavors allowed, Nevermen is a successful and forward-thinking act of sonic maximalism. [No. 128, p.52]

The new/old Psychedelic Swamp LP of today fuses the best of both worlds. [No. 128, p.51]

An album chock-full of some of the most melodic and memorable work the band ever produced.... This reissue definitively covers the final chapter of Reed's time with the band that not only established his street cred, but launched him headfirst into his solo career. [No. 126, p.56]

The most impressive thing about the band's second record is how relentless it is. [No. 126, p.59]

The stark, live rendering at Oran Mor reveals the quiet beauty and strength these songs possessed all along. [No. 126, p.61]

Stones-y rockers a la "Heartstopper" and "Trouble" have more chug and balls than Richards' band has displayed in a while. [No. 126, p.59]

Tape Loops comes off more like a utilitarian exercise in minimalism than a proper solo album from one of the most celebrated producers of the past 20 years. [No. 126, p.58]

An airbrushed return to the imagination hinterlands of an expressive impressionist. [No. 126, p.57]

Be Small connotes acceptance of the intimacy Temple can't seem to breach. [No. 126, p.57]

These are brooding songs of love and loss and life, music for gown-ups in the best possible way, music for people who've lived. [No. 126, p.57]

Though only mildly collaborative, II us just as thrilling as many of Segall's finest works. [No. 126, p.57]

It's unlistenable dreck. [No. 126, p.55]

The songs are as dense and atmospheric as we've come to expect. [No. 126, p.55]

I Am A Problem still explores texture and discomfort like Wolf Eyes always has, but now have riffs. [No. 126, p.60]

It's towering tuneful stuff. [No. 126, p.54]

Income inequality and class warfare, intolerance and love--arguably the heaviest subject of all--are dealt with firmly and frankly, couched in Phillipps' timeless, jangly melodies. [No. 126, p.52]

The music works well on its own merits, though it's sometimes tough to know how ironically we're supposed to hear the Yawpers' penchant for the standard furniture of hardscrabble Americana. [No. 126, p.61]

It's Great manages to create a cohesive set that engages the listener at each turn. [No. 126, p.55]