There are moments where small breakthroughs are made, but as Sway proceeds, it takes a turn toward the dour and depressing. [No. 114, p.61]

The emotional mood of At Best Cuckold never breaks away from the spell of his comfortable lethargy. [No. 114, p.53]

After The End is disappointing because Merchandise has already proven it can do more. [No. 113, p.59]

Sadly, "Everything Is Wrong" announces another second-half fade, the back side congealing into the same zombie histrionics that sank Interpol. [No. 113, p.57]

At it's best, Barragan sounds like typically inventive musicians sleepily phoning it in. [No. 113, p.54]

Crush Songs trades intensity for wistful longing. [No. 113, p.51]

Their command of sonic mood is commendable, but without something more to grab hold of, Annabel Dream Reader is just a relentless gut-punch. [No. 112, p.61]

The duo's intoxicating sense of endless sonic possibility remains, but the many lovely moments rarely amount to memorable songs, and several shout-outs to its still-enchanting debut fells like cruel teases. [No. 112, p.57]

Trouble In Paradise proves her more than capable of putting together a solid pop album on her own. [No. 112, p.57]

Classical/new-age strains mash against underlying funk beats with this record's favorite motif being sophisticated Europop twisted around throbbing rhythms sourced from sound sample slices, giving it a feel that falls somewhere between Mike Patton's Lovage, Peeping Tom and the pseudo-highbrow commercials that Chanel and Lindor use to hawk fragrance and milk chocolate. [No. 112, p.55]

The good (and bad) news for people who love bad (and good) news: Both groups will be delighted and appalled by this record. [No. 112, p.51]

Bossy's reformation seems based in penning the dullest platitudes imaginable. [No. 112, p.59]

The fact that two 19-year-old players--drummer Evan Laffer and guitarist Matt Pulos--generate this crushing wall of sound makes it even more impressive. [No. 111, p.55]

An uneven record, though one that may ultimately prove a warm-up for a more interesting one. [No. 111, p.61]

There are plenty of vocal effects and a seductive use of harmonies, but they're seldom more than pleasant. [No. 111, p.61]

Though No Coast possesses its vivifying moments. It's pretty clear not all the organs made it back after the post-Frame And Canvas autopsy. [No. 111, p.52]

Their new album A Thousand Thoughts, featuring mostly unreleased tracks of music from 14 countries, does suggest that in this expanded universe Kronos have come to resemble sentimental tourists rather then intrepid explorers. [May 2014, p.65]

Turn Blue is a soft pack of post-coital smokes, and Marlboro Lights 100's at that. [No. 110, p.51]

With Rented World, the Menzingers aren't doing anything new; they're simply coasting from where Impossible Past left them. [No. 109, p.57]

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

Albarn aficionados will, of course, lap it up, but for the rest of us, think of it more along the lines of a faintly beguiling curio in an otherwise fascinating career. [No. 109, p.52]

'War Cry," the album's longest track at more than 11 minutes, sums up the band's problem with its blend of barely audible vocals and meandering guitar solos that go from metallic shredding to simple repeated clusters of notes without building much tension or release. [No. 109, p.59]

For possibly the first time ever, it's hard to tell if he's trying too hard or not trying hard enough. [No. 109, p.56]

This LP does little to propel her anywhere near the ranks of the big-name women of contemporary pop/rock. [No. 108, p.61]

The Take Off is not all that remarkable the first few times around, but it nonetheless hints at rewarding repeat visits. [No. 108, p.55]

Their stinging, smart wordplay is dependably knotted and sneered, and even though it's difficult to separate their cadences, the collective passion present is undeniable. [No. 108, p.59]

An enticing record emerges, boasting intricate instrumental latticework with the smoldering focus of slow jams. [No. 108, p.57]

Beyond often rings with the bumbling awkwardness of a band taking itself too seriously for the first time. [No. 108, p.55]