With a brand new sound, rich production, and a palpable sense of growth, graduation has come, and Kidz in the Hall have officially earned their degree in unadulterated artistry.

They've delivered highly re-playable 13 song study in the G blues chord's progression, spanning '50s hillbilly rock, '60s garage and '70s glam and punk. [Sep/Oct 2007, p.129]

A fluid transition is made into album closer Circulation, an exhilarating piece where the not-so-secret-weapon, drummer Moses Archuleta propels the band through the universe that's made Deerhunter's records so repeat-worthy; that place where reverbed typhoons are miraculously contained and space is somehow kept taut.

A rewarding, intimate listen. [Mar 2007, p.101]

Fans of Death Cab and the Postal Service might notice a similarity between Angelakos' and Ben Gibbard's vocal styles. The six song EP features light, airy synths grounded in subtle new wave and pop grooves.

A wacky landmark in the electronic pop movement. [Nov 2002, p.98]

It's almost like Subtle, as a collective, is afraid of letting loose or having too much fun. [Oct 2006, p.130]

The Books have found their way out of convention, and they've been kind enough to invite us all along with them.

Red Barked Tree captures the sharp and fiery hallmark defined by Colin Newman, Graham Lewis and Robert Grey some thirty-odd years ago to strike a pressure point relevant to younger generations.

Har Mar wraps glorious, melodic R&B styled hooks around lyrics that sound dangerously inappropriate coming out of the mouths of matrons in minivans. [Sep 2004, p.114]

Rich in imagery and suggestive of enviroment -- arctic, urban and mental -- Pan Sonic chisels a sound contradictory in its makeup, utterly synthetic and metallic yet somehow deeply organic. [#82, p.144]

If you're in need of hype, and think Oasis are too old and lame anyway, and the Arctic Monkeys are just kind boring, maybe you need... the Klaxons. [Apr 2007, p.106]

Little on RUOK possesses commercial cache, but what is that against a career-defining turn? [Nov 2002, p.96]

It seems semi-impossible for Montreal's held-in-holy-regard Arcade Fire to top their previous two albums, but with The Suburbs they seem to have at least met their own standard.

Occasionally teetering on the verge of too precious, the heavy mood and lush production are too much (and too nice) to resist. [Apr 2004, p.87]

Sweet femme fatale vocals, oceanic synth waves and shoegazing guitar riffs abound on these sprawling sound confections. [Jun 2005, p.85]

Beautiful. [Apr 2005, p.108]

Hot Chip hasve always guaranteed a certain degree of respect for the listener's intelligence, even on their most fance floor ready album yet. [Jan/Feb 2008, p.102]

Junior breathes new life into an already overpopulated genre of glitch and synth stab fury.

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]

Even though love and religion may be his False Priest, Barnes can't escape their torrid ties, and despite the struggle being a lost cause, there is much cause to rejoice on of Montreal's tenth album.

[A] powerful statement. [Oct 2004, p.101]

With entertaining lyrics and even better themes, yU draws the listeners to his adventure that is The Earn.

Deerhoof reveal new shades of interest that beckon future transformations. [Jan/Feb 2006, p.78]

At Mount Zoomer will get hipsters dancing around once again, but I think the respect and hype is most definitely due to Wolf Parade this time.

From the Cradle to the Rave has a high cool factor, almost too cool; perfect for any semi-ironic hipster party.

Contra is cohesive and concise; it may have the effervescence of California, but it is over in a New York minute.

With Similes, he has re-grounded himself using surprisingly un-ambient means: plaintive vocal turns, steady human percussion, traditional and discernible instrumentation