It's clear the band have grown up. [Apr 2009, p.135]

LOG maintain all thise essential elements and more, yet still venture into uncharted territory. [Apr 2009, p.136]

Hold Time exists not simply as a vehicle for the rehash of rock 'n' roll blueprints, but as the highway on which to drive home his acute pop-rock songwriting. Mar 2009, p.107]

Common Existence cements Thursday as not only the forefathers of the scene, but also the reigning kings. [Mar 2009, p.102]

The Century of Self finds the pride of Austin, Texas, continuing to push baroque prog-rock to orchestral new heights. [Mar 2008, p.112]

The lyrics can be heavy-handed--images of greed, violence and the apocalypse dominate, with varying levels of success--but the danceable beats and grungy atmosphere make Corpus the ideal soundtrack for debauchery in the face of economic depression. [Mar 2009, p.112]

Here, vocalist Yuki Chikudate's stacked, reverberating vocals sparkle like the glint of light off of fresh morning dew. [Apr 2009, p.134]

N.A.S.A.'s dope beats and wet-dream collaborations make Apollo an absolute must-have. [Jun 2009, p.111]

Vetiver have previously been a little too left-of-center for any huge acclaim, but with Tight Knit, expect the blogosphere to light up. [mar 2009, p.107]

All Aboard Future--for all its dystopian doom--somehow shakes out as the first truly modern punk record of 2009. [Apr 2009, p.133]

Repeat listens yield rich and profound rewards. [Mar 2009, p.104]

It's an engaging listen. [Mar 2009, p.107]

It's not bad, but it's no zobie romance, that's for sure. [Mar 2009, p.113]

Whether your tastes veer toward the Dillinger Escape Plan or John Zorn, Carboniferous is what your soul's been craving. [Mar 2009, p.109]

The mood, talent, and energy are present, but the lack of lyrics is off-putting and relegates the band's seventh proper LP to B-team status. [Feb 2009, p.103]

The trouble is that their debut album is saturated with the kind of contrived angst that seems to always maintain a level of popularity with upper-middle class white kids who don't pay their own bills yet. [Mar 2009, p.107]

It's all unabashedly bizarre, but that's what makes it good. [Apr 2009, p.142]

Auerbach moves flawlessly through all of his favorite frames of references. [Mar 2009, p.112]

Like a football running back, it's when the band put their heads down and sprint straight ahead that they score. [mar 2009, p.113]

The New Orleans duo have crafted another epic album--this time, though, it's a more organic affair. [Feb 2009, p.107]

Regardless of one's opinion on music that drawls, Changing Horses is worth your attention. [Mar 2009, p.106]

Lonely Road thrusts RJA away from being categorizeed as a "scene band," instead jouneying deep into the realm of radio-oriented modern rock. [Mar 2009, p.110]

The Mountain brings a new rhythm section to town--a rejuvenating transfusion for the band--and Appalachian banjo and high-art violin swirls. [May 2009, p.121]

On their self-titiled debut, there isn't a dud in the bunch. [Mar 2009, p.101]

P.O.S. has raised the bar again. [Mar 2009, p.114]

Ladyfinger (ne)'s second disc finds a sweet spot within the jagged, mathematical riffs to hide wellsprings of melody and harmony. [Apr 2009, p.132]

At its best, the disc forges a middle ground where trebly guitar power is fortified by the electronics, resulting in a new propulsion. At its worst, the disc is as meaningful as "superstar DJ" sets, designer drugs and having your picture taken by the Cobrasnake. [Feb 2009, p.99]

It almost doesn't matter what chanteuse Inara George--one half of the Bird And The Bee--is singing about on the duo's second full-length, Ray Guns Are Not Just The Future, mainly because it all sounds so sweet. [Feb 2008, p.103]