The Constant is best when going fast and loud, keeping your heart racing (and your mind off the subpar lyrics), but it loses momentum with cookie cutter ballad "holding On To You and a track, "Remember A Time," that oddly sounds more like Weezer than Warped Tour. [Mar/Apr 2010, p.92]

Perhaps sensing the imminent death of the album format, Zombie has thrown all caution to the wind.It's an approach he should have taken long ago. [Mar/Apr 2010, p.90]

It's melodic and Malevolent, a relentlessly good disc with an A.D.D. sufferer's list of pop-cultural obsessions ranging from Robocop to werewolves to Judas Priest. [May/Jun 2010, p.100]

While the album has its share of radio-friendly anthems like "A Lifeless Ordinary," the real standouts on the band's fourth full-length are the grittier, unexpected moments such as the sinisterly syncopated "Hysteria" or post-hard-core masterpiece "Disappear." [Mar/Apr 2010, p.90]

45 minutes of jagged, uneven music that includes sparks of urgent genius, and perhaps five or six seconds that border on legitimate transcendence. [Nov/Dec 2001, p.117]

As sonically beautiful an album as R.E.M. has made. [May/June 2001, p.114]

While Lions roars with all of the classic rock bombast and Stones-y swagger we've come to expect from the Crowes, the album is sorely lacking in the magic that can only be achieved when the innately talented drive themselves to distraction in the pursuit of perfection. [May/June 2001, p.110]

A crafty update of California pop, shot through with the insights and ravings of a sometimes-lonely desert mystic.... Still, the disciplined songs of Trouble occasionally scream "Warning! Career Rehabilitation in Progress." [May/June 2001, p.105]

Despite some high points, this is hardly the definitive live Springsteen album. [May/June 2001, p.116]

Eve ultimately transcends dog-bait stereotypes with an evolving sense of style that finds her waxing rough and cool one minute and warmly grooving along to reggae the next... [May/June 2001, p.108]

Matthews finally takes a full-body plunge into the rock mainstream he'd only dipped a toe into before. [#4, p.105]

This collaborative overkill is the same misstep that hobbled the group's last comeback attempt, 1993's Down With The King. [#4, p.108]

Standards is a mature work in the best sense, an example of a rock band--yes, a rock band--that has grown into its sound and is now relaxed enough to have fun with it. [#4, p.107]

Malkmus remains up to his usual trickery, packing the proceedings with musical plot twists like false starts, abrupt fades, and fake codas. [#4, p.106]

Probably the best indie drone rock since Galaxie 500 put the Velvets jangle to hypnotic use (although Low reach even greater peaks of elegant sublimity). [#4, p.106]

The Offspring's hit-making machinery is as efficiently well-oiled as ever. [#3, p.106]

Nearly perfectly formed, a confident showing of pristine, heartfelt songs that stand up alone and gain greater strength in the context of the full album, which ebbs and flows in a great purge of emotions. [#3, p.120]

Unfortunately, the toidy humor isn't funny, and the introspective songs aren't that relevatory. [#3, p.105]

Stankonia lays bare the group's desire to be something greater than just rap stars. No two tracks sound alike, and they've taken time in the woodshed to pen rhymes that are even more dexterous and honest than their past work--no mean feat. [#3, p.107]

In terms of its sound, it is far less exuberant than 'Bringing Down the Horse,' far more stripped-down and varied in its arrangements.

This sprawling set would not be the ideal introduction to Guided by Voices... but Suitcase does provide a fascinating chronicle of one man's lifelong love affair with songwriting. [#2, p.104]

Backed by a bevy of sublime, aggravated tracks, G.O.A.T. is L.L.'s most aggressive, rhyme-centric effort since Radio. [#2, p.112]

Musically, AOI melds the compufunk of 'Stakes' with the soulystics of the trio's earlier work, adding in a healthy supply of guitar twang to boot. [#2, p.109]