The New York quartet have outdone it with Lenses Alien. [Oct 2011, p.106]

Even if the energy level flags toward Hysterical's end, it's safe to say welcome back, fellows--all is forgiven. [Oct 2011, p.106]

In the Grace of Your Love is lethargic and shapeless. [Oct 2011, p.109]

Mariachi el Bronx (II) triumphs because not only does it treat West Mexican Musical idiom with respect, it raises the bar for future directions and possibilities. [Sep 2011, p.114]

Hopelessly happy, Grouplove should be required listening in seemingly hopeless times. [Oct 2011, p.107]

Mountaintops is still well-crafted (if overwrought), but lacks the punch that'll make you sit up and take notice. [Oct 2011, p.109]

It's probably the most honest collection yet. [Oct 2011, p.109]

Smart and adventurous, Wild Flag does not disappoint. [Oct 2011, p.112]

While modern metalcore acts are a dime a dozen now, the fourth full-length from the Devil Wears Prada should lay waste to any usurpers attempting to seize their rightful crown. [Oct 2011, p.107]

Portamento is a dramatic, bitchy and playful collection that can channel the aforementioned grief through the Drums' lively fingers, and come out effervescent on the other side.

The mild vulgarity and cute arrogance put to such an innocent melody [in "Fool Like Me"] is the brand of sass for which Cobra Starship are best known. Unfortunately, these traits are desperately lacking from the rest of Night Shades.

Am I The enemy is their second-best album and a reason to believe in a brighter future. [Sep 2011, p.120]

The high points are among the most fun songs Walker's recorded.

It's impossible not to throw up the horns, bang the head and get caught up in the heavenly haze of 13.

The Green Album is a sweet and largely sincere recasting of songs from The Muppet Show and several of its cinematic spinoffs.

In Waves hits some high notes with solo-heavy scorchers, but bury them seven tracks deep is as dumbfounding as their guitar work is breathtaking. [Sep 2011, p.120]

Overlook has its moments. [Sep 2011, p.120]

The addition of electric instruments and Morello's nasal speak-singing do make Rebel Songs read a little like a radicalized Dylan. [Sep 2011, p.116]

Mirror Traffic will neither win nor lose converts. [Sep 2011, p.112]

A reliance on monotonous tempos and rhythms--and a disappointing lack of melodic variation--further make Endless Now fell curiously lethargic. [Sep 2011, p.112]

La Liberacion's digi-pop breakdowns, reggae-tinged zaps and punky power-pop will please anyone who wrote the band off after 2008's too-glosy Donkey. [Sep 2011, p.112]

Whether Black Tide are going heavy or tender, every desperate attempt to conjure a moving moment fails. [Sep 2011, p.110]

How about just plain old "unbelievably goddamn gorgeous?"

Damon Atkinson's drumming is phenomenal as always, and Broach's new, crooning vocal style is an exciting first for the band. If this s what aging gracefully sounds like we back it. [Sep 2011, p.110]

Musically, Sky Full Of Holes is simply gorgeous. [Sep 2011, p.112]

What Happens in Hell Stays in Hell finds the trio beefing up their sound without betraying the genre. [Sep 2011, p.116]

We're all closer to comprehending, thanks to this absolutely brilliant piece of modern musical art. [Sep 2011, p.116]

The hooks aren't quite as memorable as last time, and Elvis Baskette's production at times make the band sound like faceless radio rock--but the disc ultimately might soon find TFT making good on their arena-rock aspirations. [Jul 2011, p.112]