Bewitching from front to back. [Jul 2006, p.192]

Cat finds the band still evoking the Flaming Lips and Neil Young during a journey filled with dashed hopes and the desire to get away. [Jun 2006, p.188]

When Last Secrets works, it's awesome... but thanks in part to sequencing, it drags toward the end. [Jun 2006, p.180]

Fascinating as it is, Matmos' complex creative process would be for naught if it didn't generate music you want to hear more than once. [Jul 2006, p.208]

The infusion of new blood, thankfully, seems to have put the Stills' post-punk posturing and emotional distance to bed for good. [Jul 2006, p.194]

For all the offbeat touches... Dawson's wide-eyed hope and wonder are the album's most affecting qualities. [Jun 2006, p.180]

One of the few albums that deserves its Pitchfork-generated hype. [Jul 2006, p.204]

How We Operate shuffles between exuberance and wistfulness like a drunk stumbling through a crowded bar--and yet, oddly enough, it's also onoe of the more coherent albums in Gomez's career. [Jul 2006, p.192]

As with everything in Tool's oeuvre, 10,000 Days packs enough beauty, heartache and triumph that it will be dissected, studied and envied by younger bands for years to come. [Jul 2006, p.196]

City is a rare thing: a disc that reconciles a band's need for discovery with the familiar characteristics that define them. [Jun 2006, p.171]

Riotously catchy pop songs that fall somewhere between boisterous pub anthems and artsy bursts of haphazard punk. [Jun 2006, p.190]

[A] thrilling trip to the sold-out stadiums of inner space. [Jun 2006, p.190]

Skinner's delivery is as appealing as ever. [Jun 2006, p.192]

His low-riding G-Funk has morphed into a faster, catchier brand of soul that's often a dead ringer for early Prince. [Jun 2006, p.192]

It's a testament to Starlight Mints' kitchen-sink approach that each listen yields varied results. [Jun 2006, p.180]

Taking Back Sunday should be commended, not for just choosing not to rehash their older work, but for truly trying to branch out artistically--and succeeding most of the time. [May 2006, p.155]

An intriguing album. [Jun 2006, p.178]

The Dolls' music... is as gripping as ever. [Jun 2006, p.188]

Epic and memorable. [Jun 2006, p.188]

Despite the oddball showpieces, the Furnaces have refocused the lens on their homemade-pop kaleidoscope, and the result is a unversally resonant album that's not just more joyful than it's companion; it's also more essential. [Jul 2006, p.192]

The songs are mature but not boring; nicely layered but not overproduced; well executed but not sterile. [May 2006, p.164]

Curses is all jutting hips, attitudinal riffs and massive kick drums that demand fists be pumped in the air. [Jun 2006, p.186]

A gorgeous set of spectral, ambitious and carefully crafted songs. [Jun 2006, p.188]

Hughes and his crew blow through the kind of drums 'n' acoustic booty jams that would make R.L. Burnside do ankle-grabs in his grave. [Jun 2006, p.188]

Elan Vital is easily the band's most adventurous disc to date. [Jun 2006, p.178]

Another instrumental masterpiece. [Jun 2006, p.192]

They... seem to be getting better at distilling their myriad of influences into dreamy, quietly elusive four-minute pop songs. [Jun 2006, p.178]

At times beautiful, at times shambling. [Jun 2006, p.194]