His band match his pain note-for-note for a brutal but rewarding listen. [Dec 2011, p.119]

Owen leave behind the emotional outbursts of his collaborations with his brother Tim in Cap'n Jazz, Joan Of Arc and Owls, but keep a quieter, suburban rage alive on his sixth album. [Dec 2011, p.121]

Like a late-night screening of Blue Velvet, it may be hard to get through, but impossible to ignore. [Dec 2011, p.121]

Really, Surfer Blood always reminds us so much of the Pixies, and that isn't changing much with Tarot Classics. [Dec 2011, p.124]

Surprises adorn "Control" and "Mother's Lullaby," too, demonstrating an impressively increased range from the usually hard-rockin' group. [Dec 2011, p.119]

Long Live The King, by comparison, sounds distinctly like a cutting-room-floor exercise--a collection of outtakes left behind not in the name of aesthetic cohesion, but simply because the group had better songs more deserving of release.

On his third solo album, Crow fully embraces his eclecticism. [Nov 2011, p.92]

The band sounds best when going for the mainstream-pop jugular. [Nov 2011, p.98]

Soul Punk is a brave, bold statement on which Stump asserts his individuality. [Aug 2011, p.111]

There's still dead air begging for Wedren to fill it--preferably with stronger melodies and more lingering turns of phrase--but until his old band reform and make a comeback album, Wand is well worth waving.

The singer continues to exude a sophistication that raises the bar for aggressive rockers who can mature with both grace and continued relevance. [Nov 2011, p.93]

For both diehards and neophytes alike, Bad As Me works as Waits' "greatest methods" collection. [Nov 2011, p.98]

Madina Lake's return to the scene is reason enough to celebrate, it's just icing on the cake they've delivered their strongest album to date. [Sep 2011, p.107]

While the band's heritage has been hanging on by a thread for decades, The Devil's Rain is but an undercharged defibrillator to its decomposing corpse.

The recordings have the warmth and pop of a vinyl record, creating a perfect environment for Adams to honor his influences.

While the band do seem to reconcile something within by the conclusion of Odd Soul, the unpredictable, biting musical journey to get there makes for some powerful listening. [Nov 2011, p.96]

In the Pit of the Stomach is a fine achievement, but one that feels counter to the usual trajectory of your average rock group. [Nov 2011, p.98]

The "ordinary" stories about a new marriage after the shine wears off aren't as dramatic as a broken heart or life-threatening illness, but they're no less real and gradually embed themselves in the listener's mind. [Nov 2011, p.93]

By creating an homage to youthful, timeless pop-punk--New Found Glory sound revitalized and relevant. [Nov 2011, p.91]

Covering Ground, is Ragan forging his own lonely--yet hopeful--path. [Oct 2011, p.112]

Perfect for night drives on long, winding roads. [Oct 2011, p.107]

They deliver a collection of moving songs unified by skillful, understated songwriting, and a warmer, more organic tone than its predecessor, 2009's winning Chasing Hamburg. [Oct 2011, p.110]

In Reno especially, the Skulls' Agitation is one of the safest bets a punk can make. [Oct 2011, p.106]

It falls just a smidge short of the amazingly high bar set by their peers. [Oct 2011, p.107]

Ultimately, Neighborhoods is a slightly awkward entry in the band's catalog that shows as much potential as it does flaws.

The band stand undiminished, combining Leviathan's raging metal with the sterling production of the proggier Crack The Skye.

It may not be a challenging album, but it's close to pop perfection. [Oct 2011, p.107]

Honkey Kong exhibits Hughes' versatility as a songwriter and performer, but it's at the expense of sonic continuity. [Oct 2011, p.106]