II is looser and fuzzier than its predecessor.... one of 2015's standout records. [No. 120, p.56]

For the most part, the band has deftly added its own experiences and experience to original template of its debut, and comes out gleaming in the other end. [No. 101, p.61]

As epic and compelling as nearly anything in the Cult's '80's back catalog. [No.87, p.53]

It's far and away Fernow's most affecting recorded work to date. [No. 120, p.59]

On [A Joyful Noise] the fire of youth has been replaced by a sexy confidence that oozes cool. [No.88 p.54]

It can proudly stand alongside anything else the band has done. [No. 120, p.52]

The dominant strain is melodically powerful modern jazz where "Mvt.-1" and "Mvt.-III" are the triumphant highlights with joyous Paper Chase and Jittery Peanuts reference points. [No. 150, p.55]

The band's riffs and solos topple like old growth redwoods unmoored by a mudslide, and when Haino drops his mic to join the fray on guitar and electronics, the collapse is complete. [No. 150, p.56]

It includes four instrumentals that feel wide open without sacrificing the band's essential heaviness. [No. 150, p.51]

With BRMC, the curtains match the drapes in terms of words and music. [No. 150, p.51]

It's not a pretty album, but it will evoke reaction on either side of the coin. [No. 108, p.59]

Sorry earned White Lung an audience; on Deep Fantasy, the band commands it. [No. 110, p.61]

Jenkins continues his adroitness at transforming disparate juxtapositions of R2-D2 blips and bloops, deep bass drops into sonic sculptures that are futuristically dense and engagingly hip-shaking. [No. 120, p.61]

It's missing much of the quirkiness of its predecessors--and some fans will bemoan that fact--but Motivational Jumpsuit is the best, most consistent recent GBV effort. [No. 106, p.58]

Not every song justifies Herring's bold imprimatur, but enough do to make them stand out in a catalog that wasn't wanting for impact tracks. [No. 108, p.55]

The coarse sonic atmosphere remains, but in nearly every other respect, the evolution is substantial. [No.95, p.56]

Dirty Pictures (Part 1) is the perfect appetizer to the boozy, bluesy world of Low cut Connie. [No. 144, p.55]

Once it works its way through your ears, Too True won't leave your head anytime soon. [No. 106, p.56]

A great, if subtle, step forward. [No. 131, p.55]

Should I Remain Here At Sea? and Taste stand as proof that "Mastermind, Islands" should be Thorburn's lead credit. [No. 131, p.57]

Serves as an excellent introduction to the power and eclecticism of this veteran Balkan brass band. [No. 89, p.52]

Converts to the cause will find much to love here, and curious newcomers and Anglophiles, it's as good a place as any to start. [#82, p.58]

A series of genre-bending compositions written with New York chamber-music ensemble yMusic that puts [Worden's] full vocal range of on display... a really powerful synergy. [#82, p.59]

It's a captivating album, full of gradually shifting textures, meditative chants and brilliant guitar playing. [No. 106, p.59]

The results are nothing short of stunning. [No. 149, p.59]

It's a caustic dose of trashcore and punk that's light on melody, but loaded with riffs. [No. 103, p.59]

This sophomore set--which largely sidelines the folkier aspects of their 2013 debut in favor of a sharper, fuller, occasionally aggressive big-pop approach--offers plenty of grand, gut-busting hooks. [No. 129, p.57]

The country-tarnished/garage/indie/glam-rock edge of this collection of 10 tracks has not one disappointment. [No. 129, p.60]