Their most songful release since the major-label hellos Goo and Dirty, and by most standards their best since 1988's pivotal Daydream Nation. [#27, p.144]

Overall, this is the grimiest and grimmest of the band's Bob Rock productions. [#17, p.145]

She's a poised pop queen, ready to be worshiped once again. [Nov 2004, p.141]

The only thing missing is a killer pop hit to follow "Get the Pary Started." [Nov 2003, p.120]

Even more surprising is how dynamic the duo sounds, as their voices both blend together and draw each other into fresh territory.

Yes, the Jonases are squishy, vanilla and too sweet. But so is an ice-cream cone. And ice-cream cones are freakin’ delicious. Especially when they come with a cherry on top.

Chain Gang of Love promises racy thrills--and delivers them. [Sep 2003, p.128]

Despite all the lonely missives and political outrage, Oberst comes off more like a troubadour of hope. [Mar 2005, p.132]

Treading his father’s path, he’s never sounded so comfortably himself.

The lack of pretense on his second album makes him an approachable Everypimp, and he gets nothing but love from [his] guests. [Dec 2004, p.138]

This is a visceral, powerful muso's record, a nerve-jangling explosion in a drum clinic. [Apr 2005, p.111]

Taking sound collage to seamless, organic perfection, Tobin arranges his samples like he's conducting a living orchestra. [#11, p.144]

Dawson tunefully balances girlish zeal with womanly maturity. [Nov 2004, p.132]

The music is dramatic with a glammy Britpop insouciance, and Garcia is a refreshingly earnest romantic. [#16, p.117]

Wonder has a genius for... emotional openness. [Dec 2005, p.157]

This album is a model of aging, raging indie idealism. [Apr 2006, p.118]

Through it all, the machines sound as juicily alive as the human beings. [Apr 2009, p.63]

As familiar as alt-country has become, Ward makes it worthwhile again. [#16, p.125]

Once Again sets out to rebuild the dramatic storytelling and redemptive power of soul music on a hip-hop foundation.

Mope-rock never felt so good. [Nov 2003, p.121]

Never anything less than enthralling. [Sep 2003, p.121]

THe British balladeers have returned after a long layoff as elegantly miserable as ever. [Oct 2008, p.83]

Michael never shies away from going pop, and the results are spectacular: Every hook on his stellar debut is instantly alluring.

It’s Blitz! is the sound of a band reborn with new momentum, and on an album that requires dancing, the message is clear: It doesn’t matter where you came from. Just keep moving.

The Documentary is like a hip-hop Jurassic Park: a big-budget homage to a place most of us thought was ancient history. [Apr 2005, p.118]

Unlike other current heart-on-sleeve troubadours, Lekman uses his tender touch to brilliantly tease out the bumbling awkwardness that defines modern love.

New Porn songs gush eagerness and surge like the front car of a roller coaster. [May 2003, p.122]

A further step forward. [Jun/Jul 2002, p.102]