Though the album gets too repetitive, the uniformity of Acolyte still serves the band's purpose: Make the floor move.

Against Me! were great because of their flaws, not in spite of them--White Crosses just isn't that much fun to listen to. [Jun 2010, p.102]

At its best, Arms is a pleasant album, one that sounds good on the surface or as background music. For most bands, that's perfectly acceptable. But for a group like Band Of Horses--whose ambitions have always intersected with being meaningful and transcendent, too--somehow just being acceptable makes Arms fall short.

Overall, Keane's efforts to move beyond pigeonholing succeed more than they fail. [Jun 2010, p.107]

Li(f)e's musical concept is great, but he's been better on the mic. [Jun 2010, p.105]

On Fever, it's all about the harmonized riffs and the high-flying melodies interlocking with the type of rhythmic thud that feels like it could move the earth--and the pop charts. [May 2010, p.104]

Considering how much it costs to get Rick Rubin in the producer's chair, it's no surprise Gogol Bordello aim for something beyond full-throttle drunken mayhem on Trans-Continental Hustle. Those worried the party is officially over can rest easy, as "Break The Spell" and "We Comin' Rougher (Immigraniada)" show Gogol Bordello haven't completely forsaken four-on-the-floor folk punk. [June 2010, p.105]

Thnakfully, as the album continues, the songs grow more developed as orchestrally augmented tracks "Right Place" and "LA Rain" showcase Burhenn's distinct vocal abilities. [May 2010, p.108]

This North Carolina sextet's satisfying angst gets replaced with tinny keyboard effects and Guster-ready bongo drums. With every song, vocakist Adam Baker oozes further into an imaginary indie-lite Pixar flick. [May 2010, p.102]

The vibe on Broken Bellls is so mellow and laid-back that the album dissolves into mere ambient wallpaper. [Apr 2010, p.122]

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]

It still feels like they have a bit more work to do before their albums are consistently exciting from start to finish. [Nov 2009, p.109]

The bulk of Somewhere Gone brings to mind a bummed out, burned out Neko Case. [Nov 2009, p.109]

It seems silly to declare Time To Die too well put together, but it's not always the shapest knife that gets the most use. [Oct 2009, p.110]

Don't get too far ahead of yourself--a sing-along is virtually impossible since deciphering HEALTH's lyrics is quite a challenge. They may have mature a bit, but some things will never change. [Oct 2009, p.110]

If Love Drunk's overall enthusiasm and high-energy pop doesn't win over even the snarkiest of reviewers after a few listens, then they probably don't have a heart. Everyone else will love it anyway. Pop-rock like this is popular for a reason.

Not every song hits the mark, but the Monkeys should be applauded for spreading their wings and not dropping like stones. [Sep 2009, p.100]

Ellipse is balanced but doesn't break ground. Fans of her past work will likely find little to quarrel with, but they won't be challenged, either. [Sep 2009, p.105]

The London-based compulsive hair-dyer follows 2007's soulful breakout "The Magic Position" with the luxurious sounds of The Bachelor, the first half of a double album to mixed results. [Sep 2009, p.108]

With primarily organic instrumentation and warm, low-fi production, nothing is forced--although in some instances, the tracks feel a little too barren, and overall there's not much to distinguish between the songs. [Sep 2009, p.108]

Young has a good chance at becoming a worthy replacement for the Postal Service; he just needs to monitor the ratio of sugar to substance on subsequent efforts. [Oct 2009, p.111]

The Most Serene Republic play it incredibly safe while maintaining thier baroque-rock rep. [Aug 2009, p.111]

Listening to American Central Dust ultimately feels a bit too much like working on an assembly line. [Aug 2009, p.114]

Walls tends to fade into the background during its instrumental moments, dulled by textures and emotional ebbs that aren't very distinctive. Better are sharper rock songs. [Aug 2009, p.115]

Shawn Christensen's vocals are buried in the mix, while songs fly by with no memorable structure or hooks. [Aug 2009, p.115]

Farm isn't the kind of Dino record that has a keeper single like 'Start Choppin'' or 'Feel The Pain.' Instead, it boasts some of Mascis' biggest departures under the Dino name. [Aug 2009, p.110]

Octahedron will appeal to elderly prog fans immune to attention deficit disorder, who have the patience to let its charm gradually unfold. [Aug 2009, p.111]

The signature '97's twang takes a backseat to finely tuned pop songs. The downside? It falls short of going anywhere new musically. [Jul 2009, p.130]

Pariah isn't without its merits, and diehard fans will likely find few flaws anywhere. But for the casual listener, the album might seems a little less "Of The Room" and a little more "Rent." [Jul 2009, p.126]

He and his mercenaries swing cleverly from noodly instruments to introspective acoustic ditties, but never settle down long enough to let their concoction congeal. [Jul 2009, p.127]

This record sounds like Story Of The Year if they weree from the UK--energetic pop-hardcore that's ultimately a bit on the fogettable side. [Jul 2009, p.122]

The serious tone is a natural progression for the Sounds but Rubicon's downfall is that it's songs don't linger much after the music stops. [Jul 2009, p.128]

Much of the material begs for memorable melodies, perhaps a bit of a rave-up or divergent musical moment would have helped. [Jun 2009, p.103]

For anyone familiar with these progenitors of glam punk, 'Cause I Sez So won't surprise. [Jul 2009, p.130]

Every band represented on For The Lions are hardcore legends, and Hatebreed do their songs justice--they just don''t deliver anything in the way of innovation. [Jun 2009, p.104]

Lee's cutesy folk and piano pop leaves us cold. [Mar 2009, p.106]

Despite its pristine arrangements, Colonia turns into sonic NyQuil about halfway through, and ends up a low-day--albeit impeccable-sounding-listen. [Jun 2009, p.102]

It feels a lot longer than it is, and that's a bad thing. [May 2009, p.115]

brakesbrakesbrakes are as eclectic (musically) and clever (lyrically) as ever on their third album. [June 2009, p.98]

It's a shame that in those rare moments Lacuna Coil do stick out their necks, the results are the uninspired, tepid radio rock of Shalow Life's 'Unchained' and 'The Pain.' [Jun 2009, p.104]

Telepathe should be appauled for making a challenging record; though it frequently doesn't hit the mark, there's plenty for fans of minimalism to get excited about. [Mar 2009, p.116]

Amon Tobin and Joe "Doubleclick" Chapman have created some truly interesting sounds, but the end result is sadly just another trip-hop excursion with lame rapping over the top. [May 2009, p.123]

Although we have a hard time following along with this one's theme, we do enjoy the music in spurts. [Jun 2009, p.103]

Lady Sovereign celebrates her freedom from Def Jam not by leading with the (middle) finger, but instead by showing her vulnerability....[But after the first three tracks,] the old Lady Sov returns. [May 2009, p.123]

The simple, muscular rock and folk are matched in directness by lyrics that keep returning to troubled relationships, and risk the occasional awkward line to make their point. [May 2009, p.121]

Teetering between genius and madness, Repo is a few hooks shjort of a successful fishing trip for experiemental music, left mostly with "experiemental" and not much in the way of traditionally defined "music." [Jun 2009, p.102]

The net effect is unsettling distance, not pointed commentary. [Apor 2009, p.134]

It's light, airy, soothing--and imminently forgettable. [Apr 2009, p.135]

The lyrics can be heavy-handed--images of greed, violence and the apocalypse dominate, with varying levels of success--but the danceable beats and grungy atmosphere make Corpus the ideal soundtrack for debauchery in the face of economic depression. [Mar 2009, p.112]

Here, vocalist Yuki Chikudate's stacked, reverberating vocals sparkle like the glint of light off of fresh morning dew. [Apr 2009, p.134]

It's not bad, but it's no zobie romance, that's for sure. [Mar 2009, p.113]

The mood, talent, and energy are present, but the lack of lyrics is off-putting and relegates the band's seventh proper LP to B-team status. [Feb 2009, p.103]

The trouble is that their debut album is saturated with the kind of contrived angst that seems to always maintain a level of popularity with upper-middle class white kids who don't pay their own bills yet. [Mar 2009, p.107]

Like a football running back, it's when the band put their heads down and sprint straight ahead that they score. [mar 2009, p.113]

Lonely Road thrusts RJA away from being categorizeed as a "scene band," instead jouneying deep into the realm of radio-oriented modern rock. [Mar 2009, p.110]

At its best, the disc forges a middle ground where trebly guitar power is fortified by the electronics, resulting in a new propulsion. At its worst, the disc is as meaningful as "superstar DJ" sets, designer drugs and having your picture taken by the Cobrasnake. [Feb 2009, p.99]

The album as a whole is scattershot; it's easy to appreciate the boundaries that Zion I are pushing, but the best authors have great editors. [Feb 2009, p.107]

It's surprisingly how generally lukewarm the music is on Newman's sophomore effort, Get Guilty. [Feb 2009, p.103]

Even if this Boat doesn't always stay afloat, Cook's eager-to-please melodic sensibilities can still get jaws a-smilin'. [Mar 2009, p.116]

The songs explode with more energy than the whole underground combined. This makes it very hard not to love Los Campesinos!, and makes it easier to forgive the fact this record could have been better served as an EP. [Nov 2008, p.162]

Flowers suffers from lyrical impairment and bloated self-importance throughout the rest of the album. [Jan 2008, p.121]

Poison excels at using retro flourishes without drowning in nostalgia or irony, and it never forgets the future is brightest. [Jan 2009, p.130]

Heart On is on par with the band's previous efforts when it comes to ultra-swarthy innuendos. [Dec 2008, p.146]

It's a decent disc that'll simultaneously satisfy your cravings for pop music and the avant-garde. [Dec 2008, p.153]

Secret Machines is a bit of a misstep, failing keep their languid, explorative tracks from growing dull. [Dec 2008, p.148]

While the album has bright spots, overall it feels a bit dull and without the spark that made 1998's "Midwestern Songs Of The Americas" so fresh and exciting. [Dec 2008, p.132]

It all boils down to the simple question of which songs grab you, so there are certainly reasons to give Appeal a whirl and decide for yourself. [Nov 2008, p.151]

'Always Do' is the pinnacle of this record's minimal momentum; it's a leisurely stroll past the mediocrity of te album's second half (with the exception of the bluesy cadence 'Hair Don't Grow'). [Nov 2008, p.151]

The Montreal group's full-length debut, Some Are Lakes, frustratingly lacks that energy, as well as "Boo's" memorable afterglow. [Nov 2008, p.155]

Another World is only for the devoted. [Jan 2008, p.124]

It makes for a fairly entertaining show if you're willing to put down your hot wings for a second to sep outside to watch. [Nov 2008, p.162]