Diploid probably has some ace songs, but you'll need an industrial belt sander to uncover them. [No. 109, p.55]

It's a clever set, no doubt, and ably built. But for the Soft moon's work to sound weightier, Vasquez may need to push his limits more aggressively. [No. 94, p.59]

Heaven? or Las Vegas? or, more probably (circa late '90's), Chicago? Hard to predict quite where Twin Sisters will end up, but it's a lovely, leisurely, labile journey all the same. [#81, p. 58]

It feels like the jazz/hip-hop album we've been waiting for. [No. 101, p.59]

Ultimately nothing curtails The Sides And In Between from taking large, genre-defying outbound steps. [No. 135, p.57]

[A] joyless, meticulously crafted trudge. [No. 106, p.52]

Mixes equal parts Teenage Fanclub and mid-period Wilco. [#74, p.91]

Even album highlights "The Malkin Jewel" and the almost serene "Vedamalady" aren't likely to do much more than appease the group's most ardent fans. [No.86, p.60]

A bit more expansive and widescreen, a bit more fleshed out and muscular, but essentially a companion piece to their debut. [No. 120, p.55]

The perfect soundtrack for winter 1996.... It's icy, robotic and just a little bit behind the Curve. [#58, p.88]

What's miraculous about Promise Of Love is the way the band instills the music with such incredible warmth. [#59, p.85]

Like the most effective camp, the line between what's intentionally and accidentally embarrassing is utterly ambiguous. [#58, p.82]

When it's not pounding out overly mechanical drum patterns, the band is crowding the better moments with unnecessary noise. A friendly suggestion for Sea Wolf LP number four: solo acoustic. [No.92 p.58]

Once it works its way through your ears, Too True won't leave your head anytime soon. [No. 106, p.56]

The Baltimore four-piece has the fuzzy guitar, the screamo vocals, the charging bass lines and an overwhelming sense of doom for stomping, post-Seattle noise punk. But the parts don't fit together. [No.87, p.54]

The energy is unreal, but it also seems to be Dope Body's raison d'etre. [No. 114, p.55]

For all his anger, the most convincing songs on Washington Square Serenade are about love, devotion, messing up and simply wanting to be heard. [Fall 2007, p.93]

Lanegan's stamp here is reverent-yet-indelible--think Mark Kozelek channeling AC/DC--and the organic sonic approach is an especially intriguing left turn following the electro buzz 'n' thrum of last year's resplendent Blues Funeral. [No. 102, p.57]

Though there are crinkled guitars and tiny beats slipped into the mix, they only add to the eloquence of the lush affair.

It's a success throughout. [No. 94, p.53]

It's frustrating, because behind the superficial surfaces, these songs can thrill. [No. 150, p.52]

This is particularly adept record-collector rock for the rest of us. [No. 95, p.54]

Warning may not only be the most beautiful Green Day LP but also the bravest. [#48, p.93]

It's like somebody took all the great elements of FM anthems--the indelible choruses, the melodic tenacity and the rush of invincibility--and cut out the fat. [#64, p.110]

Policy shows that Will is more than capable of getting the kids to wake up. [No. 118, p.53]

Unexpected exits drop like hailstones throughout the Athenian psych/pop institution's 13-track 13th album. [No. 103, p.55]

The LP works, but just barely... [Roberts] doesn't always mesh well with Morrison's cheerful singing. [No.86, p.57]

Perhaps both the best and worst you can say about Revolution Radio is that it sounds exactly like Green Day. [No. 137, p.55]