New Again leaps forward as the best album of Taking Back Sunday's career to date.

By making a record that solely lives up to the standards they've set themselves, Rancid have maintained their dedication to the punk ethos with a resonance that will shine longer than the dozen rewrites of "Ruby Soho" some fans want from them. [Jul 2009, p.121]

The serious tone is a natural progression for the Sounds but Rubicon's downfall is that it's songs don't linger much after the music stops. [Jul 2009, p.128]

Wolfgang Amadeus Phoenix is an absolute blast, rich in ringing guitar and euphoric synths but thankfully light on fromage and staid rehashes. [Jul 2009, p.130]

Dave Fridmann's grand production touches enhance BMSR's otherworldly aura, adding dazzling glaze to this fruity cake. [Jun 2009, p.108]

Sonically spacious and spontaneous, Rose City is an endlessly tuneful bouquet of beaty. [Jun 2009, p.102]

The haunting tone unfurls itself further with every successive listen, making this an album worth returning to again and again. [June 2009, p.102]

There's an overt embracement of vintage songcraft, and a few tracks would have certainly found welcoming ears in other eras. Be glad they're here now. [Jun 2009, p.102]

While the disc does get bogged down with a little too much force-feeding of the Christian and Gloria characters (just like Idiot's Jimmy and Whatshername), it's a safe bet that the listener will come out the other end having largely enjoyed the last 70 minutes and 18 tracks.

Much of the material begs for memorable melodies, perhaps a bit of a rave-up or divergent musical moment would have helped. [Jun 2009, p.103]

This is electronic by numbers. [Jun 2009, p.111]

For anyone familiar with these progenitors of glam punk, 'Cause I Sez So won't surprise. [Jul 2009, p.130]

However modern our world, Fischerspooner continues to give us a reason to listen. [Jun 2009, p.111]

Though the length of the songs can prove to be daunting, the album is arguably one of Isis' finest moments. [Jun 2009, p.105]

Grey Britain sports some decidely non-punk maneuvers in the form of piano-concerto codas and unnerving sound effects that elevate the band from mere street-punk cliches. [Jun 2009, p.104]

A Ways Away casts a spell you won't want to break. [Jun 2009, p.102]

Every band represented on For The Lions are hardcore legends, and Hatebreed do their songs justice--they just don''t deliver anything in the way of innovation. [Jun 2009, p.104]

Lee's cutesy folk and piano pop leaves us cold. [Mar 2009, p.106]

Despite its pristine arrangements, Colonia turns into sonic NyQuil about halfway through, and ends up a low-day--albeit impeccable-sounding-listen. [Jun 2009, p.102]

It feels a lot longer than it is, and that's a bad thing. [May 2009, p.115]

Solid, creative, urgent albums like Coaster cement the fact that whenever someone gets around to opening a Punk Rock Hall Of Fame, NOFX should be in its inaugural clas. [Jun 2009, p97]

The album is a kaleidoscopic montage of stitiched-together riffs and motorik propulsion, sometimes sprawling in execution but exhilarating in its reach and reckless abandon. [Jun 2009, p.109]

brakesbrakesbrakes are as eclectic (musically) and clever (lyrically) as ever on their third album. [June 2009, p.98]

Art Brut Vs. Satan is compelling for three crucial reasons. First: Black Francis--a guy who knows something about charging guitar rock--produced the sessions. Second: The guitar subterfuge of Jasper Future and Ian Catskilkin, drive home these songs with a renewed enthusiasm. Lastly: Frontman Eddie Argos' sing-speak ruminations are inspired once again. [Jun 2009, p.108]

With Nothing, Manchester Orchestra have created what will ineveitably be regarded as one of the landmark releases of 2009, and more noticeable they've exceeded the hype that's surrounded them for nearly three years. [May 2009, p.109]

It might sound formulaic, if it weren't so gorgeous. [Jun 2009, p.102]

The end result is an album that doesn't pull its punches, a direct message to the people with enough rhythm to get some movement out of stiff limbs while we dance away the recession blues. [May 2009, p.123]

It's a shame that in those rare moments Lacuna Coil do stick out their necks, the results are the uninspired, tepid radio rock of Shalow Life's 'Unchained' and 'The Pain.' [Jun 2009, p.104]