Although it could easily pass as B-sides from 2007's "War Stories," it's actually a sprawling, atmospheric effort with enough interesting tangents to appeal to even jaded "Never, Never Land" fans. [Oct 2008, p.170]

Shall Noise Upon is the first album to consistently contain songwriting equivalent to their technical prowess. [Oct 2008, p.152]

Lost In The Sound Of Separation is truly 2008's first perfect record. [Sep 2008, p.145]

Slime gives good reason to say Roots is winning. [Dec 2008, p.152]

For what looks to be a one-off, it's remarkably fleshed out and intricate. [Oct 2008, p.151]

Ultra Beatdown is a relentless explosion of power metal serving as a superb master class for fledgling shredders on any instrument. [Sep 2008, p.152] [Sep 208, p.152]

A record bubbling with fresh sounds and creativity, one that proves Alias has not only not lost his touch--he' s improved upon it. [Oct 2008, p.162]

There's something simple and true about The Rhumb Line--and Ra Ra Riot--that draws you back to both again and again. [Sep 2008, p.150]

It's the sound of three musicians playing to their strengths while challenging their songwriting style, resulting in a cohesive listen that holds your attention to the end. [Sep 2008, p.156]

You & Me is a consolidation of strengths, intensity and pathos with enough '60s echo-chamber reverb to singe synapses. [Oct 2008, p.153]

It's by far the most readily accessible release in the A&C catalog and heightened the Stills anxieties to pathological levels, like setting bullet points from "An Inconvenuient Truth" to upbeat tunes. [Sep 2008, p.150]

Either way, previous Academy Is... fans will surely dig the tunes, but Fast Times is probably not the album that will see the band expand their scope too far out of the high school/Warped Tour crowd.

We're fans of Thorburn's day job, too, but this actually wins out when it comes to Sunday relaxation tunes. [Oct 2008, p.153]

This should be among Perry's higher-profile efforts in some time, with production by Andrew WK, and guest appearances by everyone from Moby to Brian Chippendale of Lightning Bolt. [Oct 2008, p.150]

Fallon's lyrics continue to embrace the Americana ethos that is sucessfully married with a soulful punk sound as timeless as the sentiments that inspire him. [Sep 2008, p.148]

Hill's first solo outing is a 450 bpm bonanza with 13 tracks of slasher-jazz that are surprisingly catchy and cohesive. [Sep 2008, p.162]

Without the extra bells and whisteles--which alwways saved the weakest Faint songs in the past--most of Faciinatiion is largely dispoable. [Sep 2008, p.160]

The Rumble Strips are often seen as Two-Tone ska revivalists when truthfully the sound is more like Wreckless Eric doing Memphis soul with occasional stops in Michigan to raid the vaults at Motown. [Sep 2008, p.159]

As with prior releaes, Woodruff's lyrics can be hokey, but his Midwestern earnestness makes it easy to let it slide. [Sep 2008, p.158]

'Part 2' is the album's most intense track, 'Part 3' is it's most intriguing. [Sep 2008, p.150]

Oxford Collapse cruise effortlessly from shoegazey dream pop to classic college rock to Schilitz-soaked Americana. [Sep 2008, p.150]

James Jackson Toth's solo debut has the depth, energy and character of a great comedy. [Sep 2008, p.151]

The underwhelming title cut underscores the superiority of the first four Black Kids songs, but their transition from MySpace to major label is an overall success. [Sep 2008, p.162]

Though such pop gloss ruins many indie acts, it fits CSS as snugly as vocalist Lovefoxx's Lycra stagewear. [Sep 2008, p.162]

Whether or not Dr. Dog can duly revered based on their own merits remains to be seen, but in the meantime, they've got a ringer on their hands. [Aug 2008, p.170]

The serrated serenades of Object 47 offer all the compact joys of past Wire classics like "154" and "Chairs Missing," but amplified and digitalized for the internet age. [Sep 2008, p.149]

There's a fine line between vintage rock revision and progressive insight--Hammond Jr. has mastered the balance. [Aug 2008, p.170]