GB City is a heaping helping of frazzled guitar caterwaul, bashed drums, and teenage delinquent lyrics about "talking to Elvis in my sleep" where Elvis responds, "I'm cracked out." [May 2011, p.83]

Fortunately, when grooves meander and sometimes gets a bit ponderous, the band's creative instincts usually kick in to right the ship. [Summer 2010, p.83]

Wild Beasts have an art rock sensibility for sure, but these songs read like deranged fairy tales of clamoring male maturity. [Fall 2008, p.85]

For some, Wolf's gloomy musing will come across as just plain depressing, but there's enough gallow humor and tumult to keep it noteworthy. [Fall 2009, p.68]

As with previous recordings, Singh occasionally drives home lines or phrases to see that they bend properly into a hook, regardless of how malleable they may be. [Spring 2010, p.69]

Stick around and listen again, and the songs will reveal themselves as something distinct and remarkable that shrug off any nostalgia for past work. [#10, p.106]

Musically, Davies is on track, with strong arrangements and a capable band, but vocally he often reaches too far and ends up detracting from the song. [Spring 2008, p.82]

Everything shows how a solid foundation of ideas can be steadily improved upon. [Fall 2009, p.68]

Depending on one's view, it could be heard as trance music for indie folks or prog music for electro pop fans.

The rest is solid enough--existing fans will find plenty to love. But this chaos is well under control. [Summer 2010, p.84]

It's hard to deny the Nashville charm of The Ettes, back for their fourth album, as they drive you down a back road with their blues-tinged rock, gliding as smoothly as Southern moonlight. [Jul 2011, p.89]

The tension of is-this-a-joke-or-serious is perhaps the largest aspect of the album's subtle, growing charm. [#10, p.105]

All 10 songs on the album include strings, including the arena-ready 'Air Traffic Control' and the nine-minute 'Hopesick.' Whether these changes represent an improvement for Louis XIV is debatable--mostly it is hit and miss. [Winter 2008, p.83]

Live on Ten Legs is a nice summary collection from one of the best performers around.

Callahan eschews the gorgeous rococo arrangements that guided Eagle in favor of bare-bones guitar, muted fiddle surges, and a generally more restrained approach on Apocalypse, with ample space left for an emphasis on his rich baritone and trenchant lyrics. [may 2011, p.83]

There's enough creative progress here to prove that the band isn't in a holding pattern, though they're shrewd enough to still be easily recognizable to the audience that formed around their debut.

Mould's classic works cemented his legacy. Life And Times proves he is still vital. [Spring 2009, p.72]

The album is a whole, steady listen. [March 2012, p.78]

It's not quite background and not quite foreground. But probably more background, like a film soundtrack--that could be fixed with just a little more variety. [Spring 2009, p.64]

Cults is a solid first album from a very interesting new voice in pop music. [May 2011, p.76]

In a way, the clear stylistic changes here put a spotlight on how diverse the group's discography really is. Just when you think you know somebody....

Although the band cites Gentle Giant, Focus, and early King Crimson as influences, True Entertainment sounds a lot like Feargal Sharkey of The Undertones fronting Men Without Hats. An interesting combination, I’m sure you’ll agree. Occasionally, it works.

There’s an odd sense of everything being so damn tasteful that you almost want him to overreach and miss some notes. [#15]

While admirably demonstrating that they're no one trick pony, the album is plagued with moments so awkward it makes most first dates seem preferable-promises of pop pleasure be damned.

This is an album full of sophisticated late-night hangout music colored by '80s synths and blurry, desperate vocals. [Jul 2011, p.89]

Work (work, work) is a desolate, urban lullaby, deceptively simple and definitely suffocating, but worth a little immersion.

Fort Nightly has some strong moments, but much of it is hit and miss. [Summer 2007, p. 86]

Their first offering isn't foolproof but presents enough noise to tide listeners over. [Spring 2009, p.75]