This is an album with a lot of parts to fall in love with. [No. 117, p.58]

These new arrangements--mostly piano, trumpet, upright bass and pedal steel--lend the songs a deeper loneliness, a richer tragicomedy, as if they really belonged in a concert hall, and maybe they do. [No. 119, p.55]

It's a denser, darker album than 2011's S/T II: The Cosmic Birth and Journey of Shinju TNT, spending more of its time gazing outward, intent on gleeful subversion and taking delight in making noise for the hell of it. [No. 98, p.52]

One of 2000's most consistently compelling listens. [#48, p.95]

As fine a record as you're likely to hear in 2016. [No. 132, p.54]

The active present Human Voice takes advantage of each of Dntel's original promises. [No. 114, p.54]

It's freeing and inspiring and a wondrous odyssey of class-consciousness. [No. 109, p.58]

Warning may not only be the most beautiful Green Day LP but also the bravest. [#48, p.93]

Aside from a few fleeting moments of watery prog and lumpen rock, the album's 15 songs have a slow-growing charm and understated grace, something that gradually becomes powerful in its own right. [#60, p.102]

This is they type of sublime, maximalist treasure that should kick positive inspiration downstairs into the emperor-in-his-birthday-suit, for-the-sake-of-it, substance-free charlatan safe room that the experimental/abstract realm of contemporary underground music can sometime seem like. [No. 148, p.55]

Blood Oaths Of The New Blues has us realizing, possibly for the first time, what an amazing, enrapturing voice the dude has. [No. 95, p.61]

Endlessly moody and surprisingly versatile, this record moves by its own secret logic. [No. 144, p.61]

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

Bitter Honey hits like a series of heart punches, and the quality of the writing is such that it doesn't get old even after multiple back-to-back spins. [#71, p.87]

Bestial Burden works because of its methodical execution--a calculated piece of catharsis that towers over all other bedroom power electronics tape-peddlers. [No. 114, p.59]

Although one of his most accessible, it's not constrained to formula. ... It was worth the wait. [No. 134, p.54]

There's no flashiness here, but a slow-burning passion makes this record smoke. [No.99, p.56]

Not only essential, Love And Distance is like nothing you've heard this year. [#64, p.95]

It's the best album Fulks has ever made, period, and even if you can't quite make out the twister that swept away all that old anger, it's easy to hear the sweet, sad emptiness it left behind. [No. 102, p.56]

What a glorious sound it is--the highs and lows (sonically and emotionally) are crisper and better defined. [No. 150, p.50]

Sonically, visually and thematically, this double disc is grandiloquent, like the great progressive music statements of rock history. [No. 145, p.61]

The production has kept the focus exactly where it should be: on the longing of his voice... it's given him a deeper, haunting sense of quiet that strips these melodies to their essential, fragile beauty, delivered with joy, grace, and a wounded wisdom. [No.89 p.60]

Enthralling music that embraces you like your mama never did. [#69, p.87]

The long held notion of Stone and Co. as purveyors of funky pop (or poppy funk) touched by harmonic roar of choral vocals and the lyricism of sociopolitical consciousness is all here. [No. 122, p.61]

Criminal Heaven is an infectious, off-kilter, damn near perfect indie-pop album that manages to effortlessly cover a bizarrely large plot of musical territory. [#86]

This is an album with a lot of rich, rewarding darkness in its grooves. [No. 113, p.57]

Hitchhiker is a perfectly wonderful solo-acoustic session recorded one day in 1976. .... This is a most welcome collection. [No. 148, p.61]

The treatments are smartly contemporary, balancing Amidon's clawhammer banjo with Frisell's echoing electric guitar, backed by jazz-inflected bass and drums. [No. 114, p.53]