A perfect album. [Sep 2006, p.143]

Throughout the disc, Lavalle shows great ability to craft soundscapes that demand attention through their subtleties. [Sep 2006, p.131]

They take their place among the scruffiest, ugliest and most crowd-pleasing bad guys the West has ever spat out. [Sep 2006, p.131]

On Varcharz, Mouse on Mars crank out 11 new tracks that, for better and worse, continue to expand the boundaries of abstract music. [Sep 2006, p.138]

This album pays less attention to the club lights and feels more clubbed over the head emotionally. [Sep 2006, p.136]

Submersive, almost submissive. [Jul/Aug 2006, p.118]

Triumphant. [Jul/Aug 2006, p.130]

The Roots' energy is claustrophobic and thus, jaded. It still has a prominent place on Game Theory, but when it's not subdued, it's downright bitter. [Sep 2006, p.142]

Though varying little from past Tyde albums, Three's Co. is a welcome tribute to summer. [Sep 2006, p.139]

Each release generates one or two hits and is never regarded as a classic, but 4:21...The Day After may be an exception. [Sep 2006, p.137]

A lively collection. [Sep 2006, p.132]

This duo can only be measured against themselves and for the first time, it don't measure up. [Sep 2006, p.139]

Like flicking through '60s AM radio's intermittent channels. [Sep 2006, p.138]

The Nashville crew's sound has slowly aged from alt-country to Stax-styled soul and now brooding ballads. [Jul/Aug 2006, p.122]

Darnielle displays a newfound glimmer of strength adorning his melancholic tales. [Oct 2006, p.122]

It rocks, sometimes wallows and wanders off, but still comes back to a lo-fi sound that's contagious and consistent. [Sep 2006, p.136]

Finds a band in utter denial of what is precisely its appeal. [Sep 2006, p.143]

Another impressive and complex recording. [Sep 2006, p.139]

Quite boring. [Jul/Aug 2006, p.125]

The Shining stands as a combination of Dilla's best sides. [Jul/Aug 2006, p.130]

At times reminiscent of Neil Young. [Sep 2006, p.139]

There's only so many times the melodic power chords of guitarist Mike Stroud can graze the quarantined beats of programmer Evan Mast before the combination begins to rust. [Sep 2006, p.142]

While the album is a fun first listen, it's in taking that second and third spin of Waterloo to Anywhere that the band's infectious quality becomes a full-fledged epidemic. [Sep 2006, p.142]

Freedom rock at its most liberating. [Jul/Aug 2006, p.116]

It's clear that we have a gifted songwriter on our hands. [Jul/Aug 2006, p.117]

We can't blame it all on the puzzling guest appearances because back in the day, J5 would've saved those slip-ups. [Jul/Aug 2006, p.124]

Franti's most eclectic offering yet. [Jul/Aug 2006, p.116]

The result is in the vein of popcraft performers Phoenix, Air and others who occupy a great deal of the Astralwerks roster. [Jul/Aug 2006, p.132]

It's hard to care, to jump, jive and join the cause, when singer-guitarist Jenny Hoysten barely musters anything above flat, monotonous speak-singing. [Jul/Aug 2006, p.118]

French Kicks have smoothed out the jagged guitars and off-kilter rhythms... in favor of a cleaner, more understated sound. [Jul/Aug 2006, p.120]

The Looks shows off MSTRKRFT's deep understanding of making people move. [Jul/Aug 2006, p.125]

It succeeds in the same subversive manner Peaches did six years ago. [Jul/Aug 2006, p.118]

Apparently channeling Stereolab, Dilated Peoples and the ghost of Esquivel, Cut Chemist finds that everything is fair game if you are witty and skilled enough to connect the dots. [Jun 2006, p.108]

It's her way with a sexy synth beat that gives Ms. Peaches her succulence. [Jul/Aug 2006, p.126]

Perhaps an EP would have better-suited Yorke's solo aspirations. [Jul/Aug 2006, p.115]

A melodic minimal techno record that's sunny rather than stark, emo(tional) rather than eerie. [Jul/Aug 2006, p.129]

The Return shifts from the dusty, foreboding ambience created by Dan the Automator on Dr. Octagonecologyst into a contemporary world ripe with analog melodies and crisp, programmed beats. [Jul/Aug 2006, p.125]

Actions' unique and new-fangled deliverance of mostly acoustic and certainly threadbare beats see to it that Plan B doesn't fall into the grime or dubstep pigeonhole. [May 2007, p.97]

This time the band offers a variety of styles, from uptempo rockers to gorgeous ballads to move you. [Jun 2006, p.119]

More Libertines than Franz Ferdinand, the Futureheads deftly move away from being pigeonholed and reward listeners with a complex album of pop gems. [Jun 2006, p.111]

Splendid. [Jun 2006, p.111]

Better than his debut. [Jun 2006, p.105]

While Molina's songwriting varies little from album to album, her songs are so strong that this is not necessarily a weak point. [May 2006, p.88]

As strong as volume one, Hebden and Reid's finale to their improvised sessions is worthy of an encore. [Jul/Aug 2006, p.124]

Eschews gauzy isolation to embrace the heartfelt immediacy of chiming, breezy pop in a Big Star way. [Jun 2006, p.119]

Mind plays like a collection of tracks destined for car commercials, Hollywood movies and Superbowl half-time shows. [Apr 2006, p.90]

Like Stereolab backed by the Muppet Babies. [Jun 2006, p.114]

Zero 7 have perfected the formula for folk jazz that transcends definition and defies classification, always taking you on joyous rides that often end at a truly unexpected place. [Jun 2006, p.108]

Scale slips into un-passionate, boring territory--in part due to the vocalist, who make sthe whole thing sound somewhat homogeneous. [May 2006, p.86]

The most palatable Mike Patton project to date. [Jun 2006, p.113]

Like a walk through an alternative music encyclopedia. [Jun 2006, p.113]

Radio 4 borrow, like everyone else, but they had the idea to borrow before most on the map. [Jun 2006, p.114]

An irresistible mix of soul, rock and attitude. [May 2006, p.91]

Too much of Wood lumbers on and on and on... [May 2006, p.95]

Elsewhere is exactly what you thought it'd be: a daring piece of work from two artists not afraid to take chances that pay off. [May 2006, p.81]

Unfortunately, lead singer Pall Jenkins's vocals are not as spectacular as the arrangements backing him. [May 2006, p.82]

An album as colorful as his stage show. [Apr 2006, p.96]

This record is too flat. [Jun 2006, p.119]

The group maintains its own modern, unique sound while capturing and reimagining the familiar. [May 2006, p.95]

Daedelus weaves his sounds into an intricate sonic tapestry that pleases the ears while stimulating the brain. [Jun 2006, p.110]

The dominating reggae rhythms sound thin and dynamic moments are rare. [May 2006, p.94]

Wolfmother might not be the most original band on the planet, but they rock hard and, most importantly, without a trace of irony. [May 2006, p.91]

An ass-kicking sophomore effort. [Mar 2006, p.111]

When The Streets gets lazy, he becomes less of an artist and more like a novelty. [May 2006, p.80]

The music on this album is inspired and seriously sex-centric, repeatedly connecting politics with physical intimacy. [Apr 2006, p.82]

Untouchable. [Jun 2006, p.117]

Fine song craft and distinct vocals still shine. [Mar 2006, p.122]

The result is a sound of un-epic mopeyness, more surface than interior and arguably more truthful because of it. [Apr 2006, p.84]

Even listeners who retreat to the "experimental" defense will only mixtape the five decent tracks and torch the rest. [May 2006, p.84]

Maritime won't be able to distinguish themselves from others, but they have an amazing ability to create songs like "Tearing Up the Oxygen," which as a pop-play on words with a sense of realism. [Apr 2006, p.97]

This balls-out, hard stoner rock will get you to pump your fist in glory. [Apr 2006, p.97]

Songs are succinct yet maintain an eye for layering oblique, eccentric detail of almost prog proportions. [Jun 2006, p.111]

The vulnerable sound that you known and love--all slide guitar and open chords. [May 2006, p.94]

Painfully unexciting. [Mar 2006, p.122]

A classic rock-influenced masterpiece of horny fun. [Apr 2006, p.84]

It is quickly clear that Gotan Project have focused and finely tuned their mission during their hiatus. [May 2006, p.86]

No build-up is too big, no feedback too catartic as this wall of sound is topped by the rising sun. [May 2006, p.94]

Tecnicolor Wall of Sound confections. [Apr 2006, p.96]

Mystics still has plenty of weird, shining moments to solidify the band's unique spot in rock, but the schizophrenia may leave you a bit jarred. [Apr 2006, p.84]

Ringleader is Moz at his tormented best. [Apr 2006, p.88]

You can recommend any track on this release to friends without fear. [Apr 2006, p.92]

Fans of Bubba's previous Southern-inspired offerings will delight in these extra helpings. [Mar 2006, p.122]

Though straightforward, the song structures are detailed and ruffled. [Jun 2006, p.110]

Short with no filler, Daggers isn't revolutionizing rock, but noticeably stands out among its sonic peers. [Apr 2006, p.88]

This rocking trio is so good, we don't even care that it made a plethora of best-of-2005 lists--it'll end up on our rocking list for the '06. [Jul/Aug 2006, p.132]

A few moments... break through the post-punk grind to show a little more breadth. [Apr 2006, p.90]

Emo/indie/pop rock for people who don't like emo/indie/pop rock. [Mar 2006, p.123]

The best thing about the second Yeah Yeah Yeahs album is the fact that it defies expectations, yet seems like the perfectly logical next step for such an adventurous band. [Apr 2006, p.81]

Frankly, this record makes me wish I could snort bass lines through my ear holes. [Apr 2006, p.84]

King as album title is ambitious and King as album finds T.I. firm-footed in his role as such. [May 2006, p.95]

The Television Personalities show that they are still running strong on ideas and originality. [May 2006, p.91]

Unequivocally recommended for the open-minded among us. [Apr 2006, p.86]

With Both Sides Of The Gun, Harper proves he's prolific, diverse and relevant. [Apr 2006, p.86]

This is one groovy, swinging collection fans of all ages can dig. [Apr 2006, p.86]

A simple pop prettiness mated with all lovie dovie. [Apr 2006, p.97]

Compared to 2003's Living In America, the disco-punk is less explicitly Blondie-biting and actually noticeably more weary, but no less propulsive and vamping. [Mar 2006, p.119]

Murs is both hard and intelligent. [May 2006, p.88]

Can get a bit monotonous and boring, but besides that a moody, grinding listen. [Mar 2006, p.123]