In no uncertain terms, Crash Love is an accomplishment that raises the bar for them as musicians and writers.

These clattering seat-inducers plow through both rational song lengths and all hopes of a settling conclusion. [Oct 2009, p.110]

The majority of this disc expertly locates that elusive bull's eye between art and accessibility. [Nov 2009, p.106]

It's hard for many Brand New superfans to admit, but it's entirely possible that the band simply wrote a good album this time around, not a great one.

When the music these guys create individually is already so great, why would anyone mind having it mixed together? [Oct 2009, p.106]

Wolf's delivery is more restrained as he refrains from his usual outbursts of energy. [Oct 2009, p.115]

He's created the "good, good pop record" he threatened with "Arm's Way," wisely getting out of his own way and letting the simple but undeniable pleasures of the Motownish title track, the synth-happy '80s pastiche 'Tender Torture' and his latest Brian Wilson homage, 'On Foreigner,' with its massed Beach Boys harmonies, shine through.

Rain Machine is an introspective album that rings more of Malone's earlier influences than of boundary pushing inventiveness--but that's not a bad thing.

New Leaves benfits from Kinsells'a vibrant looping and somber monotone lyricism. [Nov 2009]

Sea Wolf's second effort, now realized by a more traditional band lineup brought together during a few years of touring behind his previous record, extends the reach of Church's pastoral folk sketches.

It seems silly to declare Time To Die too well put together, but it's not always the shapest knife that gets the most use. [Oct 2009, p.110]

Johansson sounds more in her element in this one, starting off strong with the bittersweat bounce of 'Relator.' The only misfire on Break Up is an overly arty rendition of 'I Am The Cosmos' by Chris Bell of Big Star. [Oct 2009, p.115]

Central Market could prove to some that contemporary classical music can be more epic than post-rock, more dangerous than metal, and have more to say than the most verbose MC-even if most of his songs don't have any words.

Shit rules so hard. [Oct 2009, p.108]

Once you get inside this static, it's the ideal place to hang out. [Oct 2009, p.106]

Don't get too far ahead of yourself--a sing-along is virtually impossible since deciphering HEALTH's lyrics is quite a challenge. They may have mature a bit, but some things will never change. [Oct 2009, p.110]

If Love Drunk's overall enthusiasm and high-energy pop doesn't win over even the snarkiest of reviewers after a few listens, then they probably don't have a heart. Everyone else will love it anyway. Pop-rock like this is popular for a reason.

Turner's third solo release shows how versatile he is as he single handedly bridges the gap between Brian Fallon and Billy Bragg. [Oct 2009, p.115]

As long as there's a hunger for heavy riffs, Monotonix will satify. [Oct 2009, p.111]

On paper this may sound bleak--and in many ways, Curse Your Branches is--but ultimately there's a level of solcae in Bazan's sadness that's remarkably reassuring and, stranger yet, satisfying. [Sep 2009, p.106]

On their fourth full-length, the Used have delivered not only the definitive album of thier career, butarguably one of the best records you'll hear in 2009. [Sep 2009, p.109]

Not every song hits the mark, but the Monkeys should be applauded for spreading their wings and not dropping like stones. [Sep 2009, p.100]

Ellipse is balanced but doesn't break ground. Fans of her past work will likely find little to quarrel with, but they won't be challenged, either. [Sep 2009, p.105]

Crafted with peaks at the beginning, middle and end, Watch Me Fall is the album Jay Reatard made so we can watch him do the opposite. [Sep 2009, p.108]

It's a tidy package that's well-planned and executed, but with a few pop songs so well written, it's easy to want the band to shift directions and let the post-rock go by the wayside. [Sep 2009, p.100]

It crushes with more speed, weirdness and sheer sonic weight than "Hope For Men" and the band's punkier debut, 2005's "Shallow." [Sep 2009, p.108]

It's dizzyingly brilliant, and evidence of how tall these Lions have grown. [Sep 2009, p.102]

With more focus on Knopf's reedy voice, acoustic guitar and piano/synth progressions, Intuit sets itself apart from Knopf's day job with aplomb. [Sep 2009, p.108]