The peculiar genius of the Sadies is to find new variations on a sonic model that, by this point, no other band is working with quite as much earned confidence. [No. 139, p.59]

He calls this collection of tunes "California noir," and the album delivers on that promise with songs that explore the deteriorating American dream in all its faded glory. [No. 139, p.59]

The more writerly approach hasn't dulled the duo's riffage one iota, even if this is their most musically expansive and easily their most musically expansive and easily their cleanest-sounding outing yet. [No. 139, p.56]

It's beautiful. [No. 139, p.55]

With Anything Could Happen, Stinson not only shows that Bash & Pop 2.0 has potential staying power but also that he's worthy of comparisons to his mentor. [No. 139, p.54]

Basinski has proven remarkably capable at existing far outside of his own legacy, his uncanny ability to wring entire worlds from his famously deep tape archives proving more remarkable with each subsequent release. A Shadow In Time is no exception. [No. 139, p.53]

This latest offering carries an overwhelming feeling of desperation. [No. 139, p.53]

There's craft galore on display here. [No. 139, p.52]

It continues to add up to something special. [No. 139, p.51]

Subtle acoustic bass, quiet drums and occasional strings and piano accents support his strummed acoustic guitar, leaving his quiet, expressive singing at center stage. [No. 138, p.61]

It doesn't add a lot to our understanding of Revival. ... Still, it's cool to discover the unreleased songs, including Johnny Cash "One Piece At A Time" homage "Dry Town" and to be reminded of how great Revival is. [No. 138, p.61]

It may not be what you expect, but it's got the same Dwyer DNA that's always made he band compelling. [No. 138, p.61]

Essential listening for any heavy-music fan ... or youngsters wondering what that whole Seattle fuss was all about. [No. 138, p.61]

As mood music for a particularly rainy series of months, it's a perfectly bummed-out comedown. [No. 138, p.60]

The songs on Citizen Of Glass feel more solid and lyrically grounded in the known world. [No. 138, p.59]

Superheroes, Ghostvillains & Stuff also shows how the Notwist masterfully blends organic and inorganic textures outside the studio, but it's also a reminder of how adventurous this band can be. [No. 138, p.59]

It's jauntier, if still jaundiced, and contains some of Gainsbourg's best compositions. [No. 138, p.57]

Weight is the inexorable comedown: a graceful and timely maturation that might just take a little editing to come through clearly. [No. 138, p.56]

Dreamless might not be as thunderous as Endless Summer or as hooky as Crimes Of Passion, but it vastly improves on the scattershot Boys. [No. 138, p.55]

What's striking is how her voice, which once epitomized the prototypical fair young maiden, remains just as compellingly austere. [No. 138, p.55]

Hamburg Demonstrations is the most carefully produced and executed music of his career. [No. 138, p.54]

Third World Pyramid, like its recent predecessors, is yet another gorgeous, quasi-psychedelic slice of the band's kaleidoscope-eyes popcraft. [No. 138, p.53]

Through the dark, Cohen smartly questions everything from the prickly possibilities of future romance to, quite possibly, the sacred Zen Buddhist religion where he once solidly and stoically placed his faith. [No. 138, p.51]

Tastefully rendered and thoughtfully executed, American Dreamer invites you into its loose embrace while still maintaining a certain emotional distance. [No. 135, p.59]

Autumn is as solid an effort as any in its catalog. [No. 135, p.

Daniel Bachman is the guitarist's most emotionally complex and stylistically integrated work to date. [No. 137, p.53]

The songs sound fresh and spontaneous, gull of a delicate passion. [No. 137, p.53]

Worth a listen, for Ween fans and armchair guitar heroes alike. [No. 137, p.61]