It's not for a lack of experimentation on Collet's part that Rat foregoes any sort of bar raing. It's still a solid forging of '70s-rock gruff. [Apr 2010, p.122]

The group's fourth outing supports singer Joel Pott's super-earnest reflections with melodies and arrangements direct and sturdy enough to bear the emotional weight. [Feb 2009, p.92]

Drummer George Barnett's military-precision beats are way up in the mix, but the band dynamic that made "Pyramid" so engaging, vibrant and coruscating, is virtually non-existent. [Apr 2010, p.130]

The dozen synth-and-drum-machine-laden tracks that make up Hologram Jams range from percolating to breezy to nostalgic to inescapably annoying as hell. [Apr 2010, p.123]

Lightspeed Champion somehow fail to generate the true emotional sentiment that was the crux of the artists he's drawing from...Hynes has matured, though. [Mar 2010, p.94]

On The Constant, SOTY have shown they've mastered their current sound. Here's hoping for a little more experimentation next time. [Mar 2010, p.95]

So it is wuth British quintet Hot Chip, whose progression toward traditional songcraft has reached a satisfying plateau. [Mar 2010, p.94]

With a handful of vibrant songs that match either a late-night lounge vibe, or elevate their retro-country game, the album's only major flaw is forcing too many drastic costume changes on their angelic voices. [Mar 2010, p.98]

The biggest problem on Hellbilly Deluxe 2 is that the campy B-movie samples and song titles like "Jesus Frankenstein" and "Werewolf, Baby!" come across as juvenile and lame. [Mar 2010, p.98

The riff-roaring arena anthems "Racon Eyes" and "The Firebird" are among the most infectious tracks Priestess have ever written. Elsewhere, the band's retro-fuzz machinations don't fare so well. [Mar 2010, p.98]

Merritt's singularity just feels awkward, and Realism is another album in a catalog more concerned with quantity than quality.

These four songs fulfill expectations for minimalist, rhythm-based deconstructions of genre. [Feb 2010, p.93]

Misguided in points, Contra shows a more accomplished and daring Vampire Weekend--albeit a less endearing one. [Feb 2010, p.97]

With its techno beats, yowling vocals and laughably cliched lyrics, "I Am Your Skin" fumbles at being a love song, while "She's So Bendable" (the band's vision of Lou Reed fronting the Jesus And Mary Chain) is beyond generic. [Jan 2010, p. 92]

Momento Mori is a good album, with the awesome 'Set Apart This Dream' and 'Again' shining with their anthemic choruses and deft use of pop melody. The tragedy is that it could have been great. [Dec 2009, p.108]

Frontman Chris Carrabba then shifts into the "Mature Artist" EP, showcasing critic-approved influences like U2 and the Cure ("Blame It On The Changes"), but goes too far with the acoustic mewl of "Even Now" (which is so personal, it's awkward) and "The Motions," a failed experiment in '80s pop. [Jan 2010, p. 92]

It's a moody composition with occasional moments of brilliance that will ultimately leave most listeners as confused as they are content. [Oct 2009, p.114]

While there are moments of buzzing, high-flying bliss on Githead's third LP, one can't escape the sensation of horizon-hugging deja vu. [Jan 2010, p.94]

Raditude seems intent on establishing itself as a now album, sacrificing any sort of cohesive vibe for a pop-friendly disc designed for car stereos to be turned to 11.

Tellingly, 'Angelika' and 'Maria Leonza' only get comfortably loose and silly when halfway finished. With a Strokes-y guitar part and a driving backbeat, the innovative '16th & Valencia, Roxy Music' is hopefully what Banhart will be in the future. [Dec 2009, p.108]

While all the riffs and parts are brillantly performed, they rarely if ever repeat one, and none stick in your head after the band is gone. [Dec 2009, p.108]

The wicked dueling guitars of Dan Jacobs and Travis Miguel are about the only saving grace, but even the wildest arpeggio run can't save Congregation from near-total damnation. [Dec 2009, p.116]

Mo Beauty becomes difficult to wade through as Ounsworth ventures further from his indie-rock roots. [Nov 2009, p.114]

The disappointing thing about New Moon is that it could have been better.

The album runs out of steam toward the end, but the first few tracks are gold. [Nov 2009, p.109]

Dark Touches has its catchy moments, but sticking a song in the listener's head is not the same thing as creating important music. [Nov 2009, p.109]

The collection as a whole has a transitional feel, as though Jamie T is still finding his way between the two poles of his primary inspiration. Yet with his propensity for both engaging storytelling and hooks, he's too talented not to figure it all out in spectacular fashion.

After blowing out of the gate with the blondie-tinted delight 'Ecstatic Appeal,' Pearl ends up coasting on fumes. [Nov 2009, p.114]