[Their] best album. [Nov 2005, p.224]

A gimmick-free indie-rock record that's both instantly gratifying and that seems destined to join the timeless-pop pantheon. [Dec 2005, p.202]

dios (malos) is missing something--namely, guitarist Kevin Morales. [Dec 2005, p.212]

The irony police already have an APB out on these dudes... but in reality, the old guard are just jealous because they didn't think of it first. [Dec 2005, p.206]

Celebration represent the Baltimore trio's arty fringe-rock obsessions in sleeker, more resonant forms. [Feb 2006, p.120]

A full-on party record. [Nov 2005, p.201]

Overall, Witching Hour abounds with sugary swirls of Cocteau Twins melancholia retooled for a post-electroclash world. [Dec 2005, p.218]

Z is their OK Computer, an album of scope and resonance that lasts far longer than its 40-minute run-time. [Oct 2005, p.162]

The rich--and sometimes gorgeous--glitch-folk of Elephant Eyelash certainly does the trick. [Nov 2005, p.226]

An album that's for neither hardcore hip-hop fans nor punk rockers, but for everyone. [Nov 2005, p.224]

Even [Haines'] coos about war can't make Live feel urgent or save its slanted art-rock outbursts. [Dec 2005, p.214]

Candy Ass is a mess, drifting without a rudder between half-baked folk and warmed-over electronica. [Feb 2006, p.120]

The contemporary-grunge and vintage New York-punk nods packaged here are unthreatening; singer Lillian Berlin's vocals are forgettable; and his lyrics remain more stupid than socially aware. [Dec 2005, p.214]

Smart, eclectically but authentically funky, and humane to boot. [Oct 2005, p.168]

Bianchi's hackneyed lyrics... often overshadow the music's subtle pleasures. [Oct 2005, p.170]

Only odd detours like a Russian oompah instrumental break the rhythm of the album; Rouen is an otherwise textured and engaging disc. [Nov 2005, p.222]

All at once tragic, gorgeous and ugly in just the right ways. [Nov 2005, p.212]

While earlier efforts verged on immateriality, Set Free memorably mixes acoustic strums, brushed drums and Andrew Kenny's wistful vocals. [Nov 2005, p.208]

Finally, Coheed have made an album worthy of repeat listens, rather than a monster you skim through to hit the interesting parts. [Nov 2005, p.218]

An upbeat garage-pop act who are never cloying. [Dec 2005, p.204]

Thankfully, the electro-bleeped post-punk "All Night Disco Party" and buzz-band piss-take "Heard About Your Band" aren't just dead-on scenester satire; they're damned entertaining too. [Jan 2006, p.142]

This smartly sequenced album casts a cumulative spell. [Oct 2005, p.156]

Basically, Odditorium sounds like a giant "fuck you" to [their] record label. [Nov 2005, p.218]

A bit too jammy at times, but this is another solid effort for both artists. [Oct 2005, p.158]

Organic improvisational acts instinctively know which sonic snippets to expand--Lake Trout need to rediscover this ability. [Oct 2005, p.156]

The cohesion that made their previous records so captivating has been significantly diminished. [Dec 2005, p.204]

The band ultimately lose the pop craftsmanship and hook-filled bite that distinguished their debut. [Oct 2005, p.166]

If you're a fan of the British installment of the Nuggets collection, this album was made for you. [Oct 2005, p.166]