On 2008's Brain Thrust Mastery, the trio attempted to inject a bit more seriousness and Brit-pop influence into their best-when-kept-simple sound, to varying results, but Barbara finds them back in their comfort zone--fun, danceable pop-rock.

Eyes & Nines melts faces entirely on its own merit. [Jul 2010, p.130]

Cover albums are usually a contractual cop-out, but the diverse scope and amount of thought put into each track on If I Had A Hi-Fi prevents it from sounding superfluous or self-indulgent. [Jun 2010, p.107]

Against Me! were great because of their flaws, not in spite of them--White Crosses just isn't that much fun to listen to. [Jun 2010, p.102]

Might as well slot this Portland, Oregon, Sextet on Bonnarooo's schedule for the next decade. [Jul 1010, p.122]

Tokyo Police Club retain their enthusiasm with Champ; they just want to show off the new tricks in their pony show. [Jul 1010, p.130]

The paino ballads make Black Dirt more melancholy than previous efforts, but no less masterful. [Jun 2010, p.102]

Rarely can sheer, brute force from a pair like Miller and Krauss make everything that comes afterward seem so irrelevant.

While some of the songs from 2008's "This Is Not The World" seem encumbered by big production, the 11 tracks on The Chaos sound more rough and immediate, allowing the band's natural energy to come through naturally. [Jul 2010, p.126]

It's a bit frustrating that Woodruff is still rehashing the lyrical doom-and-gloom of the band's early work. [Jun 2010, p.105]

Curiously akin to Violent Femmes, the trio are precussively sparse, defiantly devoid of distortion and occasionally potty-mouthed. [Jul 2010, p.122]

It truly does feel as if they've been holding this emotion back since the day they parted and now unleashing everything in an explosion of creative energy, delivering a magnificent record that while fresh and exciting, could only be the work of far. [Jun 2010, p.102]

With This Is Happening, Murphy remains far ahead of pretenders trying to steal his thunder. [Jun 2010, p.107]

At its best, Arms is a pleasant album, one that sounds good on the surface or as background music. For most bands, that's perfectly acceptable. But for a group like Band Of Horses--whose ambitions have always intersected with being meaningful and transcendent, too--somehow just being acceptable makes Arms fall short.

Tempos have been ground down to a slow crawl, but as Melvins and Sunn O))) have proven, that tactic just gives a band the chance to prove how heavy they really are. [Jun 2010, p.105]

While the pair should have more fully explored such detours from the norm, Revolutions Per Minute is arguably the finest hour for both Kweli and Hi-Tek.

It could have easily gone into darker, scarier narratives and/or sonic atmospheres but they shut it down at the near three-minute mark. Unnecessary brevity is a sticking point: Sea Of Cowards' 11 tracks run a little over 35 minutes.

Overall, Keane's efforts to move beyond pigeonholing succeed more than they fail. [Jun 2010, p.107]

All in all, Levalle's got a solid effort on his hands with Night. [Jun 2010, p.108]

Besides boasting some of the band's most violent music to date, what makes The Powerless Rise such a stunning metal record is the band's commitment to vigrously kicking at their boundaries while remaining true to their sound. [Jun 2010, p.104]

Li(f)e's musical concept is great, but he's been better on the mic. [Jun 2010, p.105]

Refreshingly retro without being anachronistic, Free Energy burst with unironic sun-flecked highs--it's classic rock from 8-track heaven. [Feb 2010, p.93]

Although former member Franz Nicolay's piano parts are missed, the Hold Steady have still managed to craft a great record for a barbecue on a hot summer day--and for the hangover the next morning. [Jun 2010, p.105]

The breathable production and quality arrangements allow the band's instantaneously familiar melodies to glow. [May 2010, p.102]

Although their fifth album has plenty to satisfy orchestral-rock geeks and hook-heads--especially the ecstatic, merry-g-round-dizzy "up In The Dark"--the collection shines when it goes for nuance and subtlety. [Jun 2010, p.108]

Diamond Eyes is more concise than 2006's "Saturday Night Wrist" because it streamlines (or disposes) much of that album's sonic excesses while still delivering taut songs. [June 2010, p.101]

As Minus The Bear stray further from the prickly, smartass math-rock of thier early days, the group seem focused on crafting the perfect album to launch them into another dimensuion entirely--and Omni, with its brainy intricacy and adventurous heart, may just be that spaceship. [Jun 2010, p.106]

Mondo Cane is surprising considering how engaging a listen these visits into grandiose operatic profundity really are. [Jul 2010, p.127]