Self Entitled benefits from his [Fat Mike's] more honest lyricism. [Oct 2012, p.90]

Fans of TBR will undoubtedly love this record as much as the last. [Aug 2012, p.91]

Good storytelling, the brothers' distinctive vocal lobs and a pleasant combo of banjo, bass, strings and both acoustic and electric guitar [are still present]. But with so many of the rough edges buffed away, there aren't as many nooks and crannies in which listeners can embed themselves, making it more difficult to become emotionally attached to The Carpenter.

It contains the band's most focused songwriting since the last album Gottehrer produced, 2005's Pretty In Black. [Oct 2012, p.92]

Palmer captures the human condition like no other artist. {Oct 2012, p.90]

Azure Ray have traveled even further down into the next level of the dreamscape. [Oct 2012, p.84]

I Bet On Sky can feel a bit sleepy--although noise-cracked solos and psychedelic-quicksand riffs ultimately keep things lively. [Oct 2012, p.88]

With strata of classical strings, reverbed guitars, epic piano chords and seemingly every piece of Yasunori Takada's drum kit simultaneously being hammered in salutation to the happy medium between tender, childlike phrasing, and grandiose movie soundtrack. [Oct 2012, p.90]

Frontman Tom Dougall offers guitar distensions, pedal abuse and disaffected vocals, while synth op Alejandra Diez is called upon to deliver gorgeous melodies and sinister noise. [Oct 2012, p. 92]

Bob Mould is no ordinary musician-in fact, you could say he's a pop genius. Silver Age is just one more confirmation of that fact.

Blood is a disappointing step backward from a band that showed real greatness only two years ago. [Sep 2012, p.90]

The Bloom and the Blight is the pair's most concise and best work to date. [Oct 2012, p.92]

Punchier production and more energetic songwriting point The North in the right direction. [Oct 2012, p.92]

MacNeil delivers a riveting, throat-destroying performance that owns every moment [Oct 2012, p.88]

Centipede Hz stretches them out of their traditional organic structures and into a slightly unknown world.

The triumphant streak continues with Southern Air, an album on par with 2003's beloved Ocean Avenue. [Sep 2012, p.93]

Stagnant Pools' combination of overdrive and understated make this a surprisingly alluring album. [Sep 2012, p.94]

Occasionally, it wears out its welcome, but at its best it's not just homage, but legacy-worthy. [Sep 2012, p.88]

The vicious "We're Not Good People" stuns with a pulsing, near-metal urgency that will lead you to act on your darkest urges - prior to playing the album again. And if you're not stupid, you will. [Sept 2012, p.88]

Hot Cakes, the band's surprisingly strong third album, certainly reaffirms their glammy cred. [Sep 2012, p.88]

Cliff has never needed to reaffirm his place in the reggae pantheon. With Rebirth, he went ahead and did it anyway--and then some.

Call it two EPs of material from two gifted frontmen combined into one LP--nothing more, nothing less.

"Gonna Be Free" is a solid tune, but not strong enough to save Circle from mediocrity. [Aug 2012, p.88]

Infinity Overhead's smorgasbord of sounds should please every level of Minus The Bear fan.

Almost half of the album is bolstered by huge beats and pulsating bass. Even so, the disc's bet tracks are the ones that don't employ this formula. [Sep 2012, p.92]

America is an even blend of the oddball Deacon you know and the more refined, mature artist he's growing into. [Sep 2012, p.88]

Pleasant as the diversity is, the finished products are what you'd get from any modern tribute album. [Sep 2012, p.94]

It's a relief to hear even weirder experiments emerge on Fragrant World--especially the second half. [Sep 2012, p.94]