With guitar ace Marc Ribot and pedal-steel master Eric Heywood along for the ride, she continues exploring the intersection of hope and heartache. [No. 139, p.57]

Unwilling or unable to ascend the vertiginous heights of 2009 debut Gorilla Manor, Hummingbird instead buries its beak in the sand. [No. 95, p.58]

It's difficult to accept him as an angry rocker. He's so great as a lovelorn crooner - heard here on "Seek It," one of the album's few moments of tenderness - that it's hard not to be nostalgic for the old Hawley. [No.91, p.55]

Atomic offers rare glimpses into the band's writing process and exists as an anomaly in Mogwai's catalog that's sure to intrigue diehard fans, but offers little more to anyone else. [No. 132, p.57]

The Gradual Progression manages to keep a curious balance between high-concept art and Fox's own fiercely independent spirit and virtuosic talent. [No. 146, p.55]

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

Eno brings interesting and complex rhythmic counterpoints to his 3-a.m. atmospherics.... It all sounds so very sleepy in the end, and quite numbing, in a most uncomfortable way. [#51, p.92]

Sadly, "Everything Is Wrong" announces another second-half fade, the back side congealing into the same zombie histrionics that sank Interpol. [No. 113, p.57]

It's not an overall disaster, it's certainly never dull, and there's plenty to keep the loyalists happy. [No. 100, p.58]

Fatigue ensues from the relentless stream of common-man clichés, delivered in the most vocally bombastic way possible. Which makes the carefree 'Casanova, Baby!' such a pleasure; the Gaslight Anthem finally stops playing to the stadium, resulting in a positively joyous, catchy rock ’n’ roll song.

Trouble In Paradise proves her more than capable of putting together a solid pop album on her own. [No. 112, p.57]

A concept where every title is a different animal should've wielded funnier, more songful results. [No.98, p.55]

Krug's non-stop croaking yells get old quickly, and the few highlights are hardly worth sitiing through an hour of Renaissance Faire-y meandering. [Fall 2007, p.108]

Cosmopolitan, but often dull, easy listening.... Basically, Thievery Corporation skims the surfaces of more substantial styles and reconfigures them to create pleasant dinner-and-drinks music. [#47, p.124]

An enticing record emerges, boasting intricate instrumental latticework with the smoldering focus of slow jams. [No. 108, p.57]

Too much of A River, though, doesn't give you enough music to love it. [#68, p.110]

There's precious little invention at work on Attack And Release, and the stench of authenticity hangs heavy. [Summer 2008, p.98]

Luciferian Towers is a muddled mess of underworked ideas strung together. [No. 148, p.57]

Magik Markers' simulations are dutiful, but they lack even a hint of the revolutionary spirit, menacing explosiveness, creativity, musicianship, savvy, wit, humor, heart or charm oif their heroes [Sonic Youth]. [Fall 2007, p.101]

Essentially, this is one for obsessive completists only. [No. 116, p.55]

Every song on debut Alight Of Night seems to be falling apart, mostly because vocalist Brad Hargett’s melodies are off the map.

Four becomes truly trying during its tangent-prone second half. [#70, p.93]

The obtuse nature of the song structures, content and riffing are exactly what one expects ... just dressed up as a "surprise." [No. 145, p.55]

For those inclined toward the indie end of things, there's plenty to like here, but there's also plenty that will inspire head-scratching or, worse yet, yawns. [#71, p.89]

Algiers appears designed not to define, defy, offend and - most heinously- explore. [No.91, p.53]

Albarn aficionados will, of course, lap it up, but for the rest of us, think of it more along the lines of a faintly beguiling curio in an otherwise fascinating career. [No. 109, p.52]

Sadie Dupuis' sweet voice offers very little respite from her defiantly uncatchy band. [No. 107, p.59]

Winds isn't without charm, but it feels like the work of a different group. [#64, p.84]