Quality-wise, the second half of the album has a higher batting average.

Yusuf's supple folk tunes predictably take a more spiritual route, yet largely avoid cosmic corn. [Dec 2006, p.104]

The selections range from pre-Frank material to the last song she ever recorded, all united by a distinctive rawness, her voice kept naked and slightly flawed, despite the sophisticated production.

Like Grandaddy, they know the future isn't glitch-free, but they're gonna throw a good party anyway. [Oct 2003, p.113]

Talk a Good Game is her realness in full flower, an album that balances world-weariness about relationships with infectious dollops of sexual agency, tackling the vagaries of love almost exclusively and offering anthems for experiences that every woman has had (or will have) at some point.

Alpha Games is a reconfiguration of sorts. It’s not imitating the earlier works in Bloc Party’s catalog so much as it is building from them. Produced by Adam Greenspan and Nick Launay (IDLES, Yeah Yeah Yeahs, Nick Cave), their latest creation is an exceptional addition to their arsenal.

El Khatib's full-length debut is a fine testament to the power of pomade nostalgia, cigarette-pack-in-sleeve tropes, and Gene Vincent licks.

Adding electronic gurgles to heavy, prog-rock power chords, The Secret Machines recalls Rush and Black Sabbath at one end of the sonic spectrum ('The Fire Is Waiting') and David Bowie’s spazzier, punk-era edge at the other ('Atomic Heels'). In between those far-flung atmospheric poles, the band proves they’re more than just the sum of their seamless influences.

At times, the forlorn vibe can get oppressive--'Peacetime Resistance' goes one love-as-war metaphor too far--but overall, the album is a welcome return from these princes of the bummer.

The mood is somber, mournful, and at times, downright postapocalyptic. But the best of these ambient orchestrations, gurgling uncomplicated beats, and scattered vocals add up to something emotionally wrought, even transporting.

Where Viva La Vida showcased Coldplay's sense of adventure, this one feels more eager to please; the sonic detail accrues with such speed that it's like Martin and his mates fear you'll bail if they don't grab you straightaway.

As up-to-the-minute as the album sounds, Kim herself remains stuck in the past, eulogizing B.I.G. or strapping on the horny scorn she birthed so long ago. [May 2003, p.110]

Tight, upbeat pop-punk songs reminiscent of early Elastica and late Donnas. [Jul 2004, p.110]

Editors have acquired a sense of urgency and emotion they lacked on "The Back Room." [Aug 2007, p.98]

Here, perhaps his most deft rhythm section (Clutch drummer Jean-Paul Gaster and Rezin bassist Jon Blank) acts as a liberating army -- trad doom, hardcore tempos, mathematic instrumentals, and a Fugazi lope ("Wild Blue Yonder") coexist perfectly with his famously piercing, rounded guitar tone. It's change any hesher could believe in.

Boasting enough sugary banjos, glockenspiels, and handclaps to give a Teletubby diabetes, The Boy Least Likely To animate their softly sung indie twang with nonstop hooks, bright production, and gently acknowledged adult anxieties. Beneath lyrics celebrating balloons and whiskers lie bittersweet longings.

The real story of this breathtaking follow-up... is Romeo Stodart's transformation from merely a good songwritier to an outstanding one. [Feb 2007, p.85]

The only friction here is between Lord's kewpie chirp and Nick Saloman's guardedly bitter lyrics. [Apr 2004, p.94]

Her vocals are both pitch-perfect and emotionally resonant. [Apr 2007, p.96]

On this debut full-length, already a U.K. No. 1, she glides through blippy anthems ("Starry Eyed"), pumping disco ("Animal"), and delicate grooves ("Lights") with a pixie-ish voice that's one notch sweeter than Metric's Emily Haines.

In lieu of dynamics, [bassist Thomas] Mayhew's pull-out method keeps the album engaging. [Mar 2007, p.99]

staying true to their party platform (sex, God, kissing, etc.), songwriters Eugene Kelly and Frances McKee remain the Ramones of sunbeam, patty-cake pop--even if they sound less like awkward twentysomethings singing about cats and bikes, and more like the countless post-'90s alterna-rockers who owe them gratitude.

All signs pointed to Shiny and Oh So Bright (full title: Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun.) as an authoritative step back on track.

Romweber is still ruler of his own bossa nova rockabilly kingdom, skipping from surf-guitar rave-ups to spacey instrumentals to sepulchral balladry, with the occasional Xavier Cugat cover tossed in.

Mumbly, scratchy-voiced Pete Quirk is more self-assured than on 2007’s Invitation Songs, championing optimism and determination in the face of trouble, powered by sharp folk and country-blues guitars, plus no-frills percussion.

While the lyrics to 'On the Rise' never explicitly address the se-duction of addiction, the pretty drone that cuts through the jangly melody nails it exactly. [Aug 2007, p.104]

Planet Earth is a consistent, exhilarating winner from our reigning genius. [Sep 2007, p.121]

Four [is] the most consisting-sounding Direction album yet.