New Again leaps forward as the best album of Taking Back Sunday's career to date.

By making a record that solely lives up to the standards they've set themselves, Rancid have maintained their dedication to the punk ethos with a resonance that will shine longer than the dozen rewrites of "Ruby Soho" some fans want from them. [Jul 2009, p.121]

The serious tone is a natural progression for the Sounds but Rubicon's downfall is that it's songs don't linger much after the music stops. [Jul 2009, p.128]

Wolfgang Amadeus Phoenix is an absolute blast, rich in ringing guitar and euphoric synths but thankfully light on fromage and staid rehashes. [Jul 2009, p.130]

Dave Fridmann's grand production touches enhance BMSR's otherworldly aura, adding dazzling glaze to this fruity cake. [Jun 2009, p.108]

Sonically spacious and spontaneous, Rose City is an endlessly tuneful bouquet of beaty. [Jun 2009, p.102]

The haunting tone unfurls itself further with every successive listen, making this an album worth returning to again and again. [June 2009, p.102]

There's an overt embracement of vintage songcraft, and a few tracks would have certainly found welcoming ears in other eras. Be glad they're here now. [Jun 2009, p.102]

While the disc does get bogged down with a little too much force-feeding of the Christian and Gloria characters (just like Idiot's Jimmy and Whatshername), it's a safe bet that the listener will come out the other end having largely enjoyed the last 70 minutes and 18 tracks.

Much of the material begs for memorable melodies, perhaps a bit of a rave-up or divergent musical moment would have helped. [Jun 2009, p.103]

This is electronic by numbers. [Jun 2009, p.111]

For anyone familiar with these progenitors of glam punk, 'Cause I Sez So won't surprise. [Jul 2009, p.130]

However modern our world, Fischerspooner continues to give us a reason to listen. [Jun 2009, p.111]

Though the length of the songs can prove to be daunting, the album is arguably one of Isis' finest moments. [Jun 2009, p.105]

Grey Britain sports some decidely non-punk maneuvers in the form of piano-concerto codas and unnerving sound effects that elevate the band from mere street-punk cliches. [Jun 2009, p.104]

A Ways Away casts a spell you won't want to break. [Jun 2009, p.102]

Every band represented on For The Lions are hardcore legends, and Hatebreed do their songs justice--they just don''t deliver anything in the way of innovation. [Jun 2009, p.104]

Lee's cutesy folk and piano pop leaves us cold. [Mar 2009, p.106]

Despite its pristine arrangements, Colonia turns into sonic NyQuil about halfway through, and ends up a low-day--albeit impeccable-sounding-listen. [Jun 2009, p.102]

It feels a lot longer than it is, and that's a bad thing. [May 2009, p.115]

Solid, creative, urgent albums like Coaster cement the fact that whenever someone gets around to opening a Punk Rock Hall Of Fame, NOFX should be in its inaugural clas. [Jun 2009, p97]

The album is a kaleidoscopic montage of stitiched-together riffs and motorik propulsion, sometimes sprawling in execution but exhilarating in its reach and reckless abandon. [Jun 2009, p.109]

brakesbrakesbrakes are as eclectic (musically) and clever (lyrically) as ever on their third album. [June 2009, p.98]

Art Brut Vs. Satan is compelling for three crucial reasons. First: Black Francis--a guy who knows something about charging guitar rock--produced the sessions. Second: The guitar subterfuge of Jasper Future and Ian Catskilkin, drive home these songs with a renewed enthusiasm. Lastly: Frontman Eddie Argos' sing-speak ruminations are inspired once again. [Jun 2009, p.108]

With Nothing, Manchester Orchestra have created what will ineveitably be regarded as one of the landmark releases of 2009, and more noticeable they've exceeded the hype that's surrounded them for nearly three years. [May 2009, p.109]

It might sound formulaic, if it weren't so gorgeous. [Jun 2009, p.102]

The end result is an album that doesn't pull its punches, a direct message to the people with enough rhythm to get some movement out of stiff limbs while we dance away the recession blues. [May 2009, p.123]

It's a shame that in those rare moments Lacuna Coil do stick out their necks, the results are the uninspired, tepid radio rock of Shalow Life's 'Unchained' and 'The Pain.' [Jun 2009, p.104]

Telepathe should be appauled for making a challenging record; though it frequently doesn't hit the mark, there's plenty for fans of minimalism to get excited about. [Mar 2009, p.116]

Fantasies flows seemlessly from song to engaging song, with less focus on the dance-based instrumentals of "Old World" and greater attention to frontwoman Emily Haines' thoughtful lyrics and lilting voice. [May 2009, p.112]

Amon Tobin and Joe "Doubleclick" Chapman have created some truly interesting sounds, but the end result is sadly just another trip-hop excursion with lame rapping over the top. [May 2009, p.123]

Floyd kick the shit out of 99 percent of the current post-rock crop, so you can't fault CBP for clinging to Picasso's claim that "Good artists copy; great artists steal." [Jun 2009, p.104]

Although we have a hard time following along with this one's theme, we do enjoy the music in spurts. [Jun 2009, p.103]

Psychedelic experimentalists Yeasayer add more beats than last time, but nothing that overpowers Khan's out-there mindset, stunning vocals and obvious talents. [May 2009, p.114]

Title withstanding, there's no rust on these guys. [May 2009, p.121]

Lady Sovereign celebrates her freedom from Def Jam not by leading with the (middle) finger, but instead by showing her vulnerability....[But after the first three tracks,] the old Lady Sov returns. [May 2009, p.123]

The simple, muscular rock and folk are matched in directness by lyrics that keep returning to troubled relationships, and risk the occasional awkward line to make their point. [May 2009, p.121]

'I Call Out Your name won't exactly smash the state, but it's a perfect little pop song. So are opening track, 'When I Died' and 'Now We Can See', where the band's return to gleefully subversive social commentary can't undermine their most infectious pop hook. [May 2009, p.110]

Teetering between genius and madness, Repo is a few hooks shjort of a successful fishing trip for experiemental music, left mostly with "experiemental" and not much in the way of traditionally defined "music." [Jun 2009, p.102]

This is an album of spontaneous originality and should be appreciated as such. [May 2009, p.114]

Though some tracks lull more than thrill, that seems to be the goal. [May 2009, p.114]

Fever Ray is most reminiscent of the Knife self-titled debut--which means it's merely fantastic rather than transcendent. [May 2009, p.114]

The man's always had his tender side: What makes this album different is the lack of input from his other sides. [May 2009, p.121]

On Bromst, Deacon's confidence shines through as he effortlessly combines extremes. [Apr 2009, p.142]

Don't worry about it being a chore; after devouring the album in its entirety almost a dozen times, we're still craving more. [May 2009, p.120]

The music is as ambitious as the plot, but more coherent. [May 2009, p.116]

They've given their songs a spine. Stark and deliberate, menageries of vocals ricochet irresistibly between reverb, piano and floor toms and stripped-down Americana. [Apr 2009, p.135]

I Blame You is where they make good on that promise, delivering a record as electrifying as their live show. [May 2009, p.122]

The duo's engaging, self-titled debut isn't quite as easy to parse as their moniker. [May 2009, p.123]

Hymn's soft-loud spectrum stretches uncommonly far, yielding rare rewards at each end. [May 2009, p.114]

There's a slickness to the sound as well-not to mention a pop sensibility, which could combine to give the band a shot in the Anglophobic US market. [May 2009, p.122]

God is an album perfect for daytime iPod consumption--and suitable for keeping the party bumping well after midnight. [Apr 2009, p.142]

Although a more varied use of the two drummers would be appreciated, the overall echoed effect with the cleaner production offers a complete, homogenized sound, which, when consumed en masse, makes for a killer album. [Jun 2009, p.105]

The net effect is unsettling distance, not pointed commentary. [Apor 2009, p.134]

There is some filler, particularily within the latter half, which despite the inspired riffage, isn't as memorable as the former. If Fight was a smidge more consistent, it would certainly be receiving a higher rating in this review. [Apr 2009, p.131]

Although short of a masterpiece, (a)spera is Mirah's most satisfying start-to-finish disc since her 2001 solo breakthrough. [Apr 2009, p.135]

The chops are there, the gimmck is there, and hopefully, the fanbase will be there, too. [Apr 2009, p.135]

Underneath The Owl is unquestionably the best album of the Gamblers' career thus far. [Apr 2009, p.132]

Even though Case already pushed the envelope creatively on her previous effort, "Fox Confessor Brings The Flood," she goes one step further, using several homemade instruments resembling a music box and snake charmer's flute. [Apr 2009, p.134]

It's light, airy, soothing--and imminently forgettable. [Apr 2009, p.135]

It's clear the band have grown up. [Apr 2009, p.135]

LOG maintain all thise essential elements and more, yet still venture into uncharted territory. [Apr 2009, p.136]

Hold Time exists not simply as a vehicle for the rehash of rock 'n' roll blueprints, but as the highway on which to drive home his acute pop-rock songwriting. Mar 2009, p.107]

Common Existence cements Thursday as not only the forefathers of the scene, but also the reigning kings. [Mar 2009, p.102]

The Century of Self finds the pride of Austin, Texas, continuing to push baroque prog-rock to orchestral new heights. [Mar 2008, p.112]

The lyrics can be heavy-handed--images of greed, violence and the apocalypse dominate, with varying levels of success--but the danceable beats and grungy atmosphere make Corpus the ideal soundtrack for debauchery in the face of economic depression. [Mar 2009, p.112]

Here, vocalist Yuki Chikudate's stacked, reverberating vocals sparkle like the glint of light off of fresh morning dew. [Apr 2009, p.134]

N.A.S.A.'s dope beats and wet-dream collaborations make Apollo an absolute must-have. [Jun 2009, p.111]

Vetiver have previously been a little too left-of-center for any huge acclaim, but with Tight Knit, expect the blogosphere to light up. [mar 2009, p.107]

All Aboard Future--for all its dystopian doom--somehow shakes out as the first truly modern punk record of 2009. [Apr 2009, p.133]

Repeat listens yield rich and profound rewards. [Mar 2009, p.104]

It's an engaging listen. [Mar 2009, p.107]

It's not bad, but it's no zobie romance, that's for sure. [Mar 2009, p.113]

Whether your tastes veer toward the Dillinger Escape Plan or John Zorn, Carboniferous is what your soul's been craving. [Mar 2009, p.109]

The mood, talent, and energy are present, but the lack of lyrics is off-putting and relegates the band's seventh proper LP to B-team status. [Feb 2009, p.103]

The trouble is that their debut album is saturated with the kind of contrived angst that seems to always maintain a level of popularity with upper-middle class white kids who don't pay their own bills yet. [Mar 2009, p.107]

It's all unabashedly bizarre, but that's what makes it good. [Apr 2009, p.142]

Auerbach moves flawlessly through all of his favorite frames of references. [Mar 2009, p.112]

Like a football running back, it's when the band put their heads down and sprint straight ahead that they score. [mar 2009, p.113]

The New Orleans duo have crafted another epic album--this time, though, it's a more organic affair. [Feb 2009, p.107]

Regardless of one's opinion on music that drawls, Changing Horses is worth your attention. [Mar 2009, p.106]

Lonely Road thrusts RJA away from being categorizeed as a "scene band," instead jouneying deep into the realm of radio-oriented modern rock. [Mar 2009, p.110]

The Mountain brings a new rhythm section to town--a rejuvenating transfusion for the band--and Appalachian banjo and high-art violin swirls. [May 2009, p.121]

On their self-titiled debut, there isn't a dud in the bunch. [Mar 2009, p.101]

P.O.S. has raised the bar again. [Mar 2009, p.114]

Ladyfinger (ne)'s second disc finds a sweet spot within the jagged, mathematical riffs to hide wellsprings of melody and harmony. [Apr 2009, p.132]

At its best, the disc forges a middle ground where trebly guitar power is fortified by the electronics, resulting in a new propulsion. At its worst, the disc is as meaningful as "superstar DJ" sets, designer drugs and having your picture taken by the Cobrasnake. [Feb 2009, p.99]

It almost doesn't matter what chanteuse Inara George--one half of the Bird And The Bee--is singing about on the duo's second full-length, Ray Guns Are Not Just The Future, mainly because it all sounds so sweet. [Feb 2008, p.103]

Gutter Tactics is another collection on which fans of rap radicals Public Enemy and drone-metal heavies the Melvins can find common ground. [Mar 2009, p.116]

Dear John rewards the attentive listener with complexities crafted by a Swedish pop masermind; just don't mediate on the lyrics for comfort after an emotional breakup. [Mar 2009, p.106]

The album as a whole is scattershot; it's easy to appreciate the boundaries that Zion I are pushing, but the best authors have great editors. [Feb 2009, p.107]

The Empyrean ultimately proves that if things don't work out with his main gig, Frusciante as a healthy, slap bass-free career ahead. [Apr 2009, p.140]

Mostly it works. [Mar 2009, p.113]

Dance fans--past and present--will be pleased. [Mar 2009, p.116]

This disc is heads-and-shoulders above his contemporaries. [Mar 2009, p.116]

It avoids the sophomore slump by mixing a little meloody in with the morose--sort of like a down-tuned Pinback for stoners. [Apr 2009, p.108]

What emerges by the halfway point of the title track is the sense that you're not listening to just another piano troubadour; you're hearing the oceanic confessions of an artist who in time will be considered one of the most affecting composers of this still young century. [Apr 2009, p.134]

It's surprisingly how generally lukewarm the music is on Newman's sophomore effort, Get Guilty. [Feb 2009, p.103]