Expect talk of his crossover potential, the way he weds a mighty, funny, fresher-than-hell stage presence to the tried-and-true gangsta tropes of stunts and blunts. Expect 2Pac comparisons. Expect, based off this EP, great albums.

By staying so true to Burma's superior style 20 years after it was emulated, it lacks the aura of innovation. [#10, p.90]

For all of the exploring, Shearwater is at their most affecting when they stay at home.

After 25 years, The Melvins are still showing rock's terrible pretenders how it's done.

Apples' Robert Schneider has continued to hack away at the ins-and-outs of the most perfect psychedelic pop formations ever, and New Magnetic Wonder offers proof.

While it does lack the sprawling, cinematic vibes of the previous two Quasimoto albums (and most of the skits), it will appeal to fresh ears for its lack of the sometimes-difficult segmentation and abrupt change-ups in which those records often mired.

Warmhearted and epic, Instinct aims for the moon--and sticks the landing.

It's Cabic's soft-sung delivery and chiming acoustic harmonies that give Vetiver their charm. [#21, p.96]

Gift Of Gab is assured and even-keeled on Escape 2 Mars--never reaching the intensity of Blackalicious' best work, or descending into the mellow lounge -scapes of "4th Dimensional Rocketships."

While his latest may not be as triumphant as his debut LP, Shallow Grave, The Wild Hunt is a worthy effort indeed.

Mission deliciously accomplished, sir.

All swelling organs, Teutonic strings and scathing political diatribes delivered in her winsome, insouciant vocal style.

The true surprise, then, is not the feedback and guitar solos... it's the more pop-oriented structure and melodies. [#14, p.104]

Though the sultry Southern flavor his fans love him for is still very much present, Adams remains an artist who refuses to put out the same record twice-and considering his pace, that is certainly something special.

Some songs are happy songs; some are sad, but the pure joy of melody shines through in every one. [Summer 2008, p.92]

Toggling between scurrying, bleep-spangled instruments and alien FM pop, Gang Gang excels at confounding expectations. [Fall 2008, p.100]

Lacks the robust, full-bodied sound of its predecessor and instead exercises a studied, stripped-down clinic on how to brood and remain upbeat. [#9, p.102]

Reggie Youngblood's honest and witty dialogue of jealousy, loniness, and egotism vents interior frustrations while the other Kids synthesize sulk along the way. [Summer 2008, p.97]]

R Plus Seven isn’t the masterpiece of technical error that its predecessor was; it’s the dissection of a heart.

The band puls science closer to post-rock with songs like fractals, repeating notes until you don't think you can bear their recurrance, then spangling out into gorgeous odes to the passage of time and the beauty of the loss therein. [Fall 2008, p.102]

We come to this band expected to be thrown down the Trainspotting toilet, and this is exactly where The Last Romance takes us. [#19, p.90]

The rhymes and stripped, off-kilter soul samplings are more "Mm...Food" than "Madvillainy," which is to say they're colorful with phrases clipped to punctuate a particularly satifactory punchline or rhyme conclusion. [Spring 2009, p.91]

The echo-chamber drums and forlorn strings crescendos that epitomize Camera Obscura's discography blossom on standouts like the Ronettes-like single 'French Navy,' country-rocker 'Forest And Sands,' and full-band travelogue pouter 'The Sweetest Thing.' [Spring 2009, p.100]

Finally, the soundtrack to your most ineffable longings.

Mashing up hypnotic chants, beguiling banjo licks, head-spinning melodies and sonic tomfoolery, these 11 cinematic songs are the pseudo-psychedelic soundtrack to a most wonderful dream.

It’s the aural equivalent of sweet syrup—slow, molasses-y and utterly satisfying.

The production is minimal, leaving II feeling pure and honest.

Though he occasionally buries his vocals under distortion, Cox is undeniably the star of the show. [Fall 2009, p.106]