It's done two good things for the Stills: sharpened their songwriting and returned them after a dull Album No. 2. to the crystalline guitar minimalism of their debut. [Sep 2008, p.84]

Sounds like a greatest hits set. [Dec 2005, p.156]

Offers a twisted melancholy David Lynch would applaud. [May 2003, p.120]

The lyrics [are] darker than your average soul/R&B debut. [#7, p.114]

What raises them above the hordes of young revivalists is their way with a cranky bon mot. [Jul 2005, p.121]

Let It Be... Naked offers an experience its predecessor never could. [Dec 2003, p.154]

It's 10 tightly wrapped wads of black bubblegum, not a politicized sci-fi fantasia like "year Zero" or a two-hour drift into instrumnetal blip 'n' grind like this spring's "Ghosts I-IV." [July 2008, p.74]

Miller ups the melodic ante, staking his claim to becoming his generation's answer to Nick Lowe or Marshall Crenshaw. [#10, p.123]

Joyous and limber. [Mar 2007, p.136]

The music makes her giddiness contagious. [#16, p.114]

His sonorous, self-assured drawl adds an air of unflustered authority to his alpha brags, and he pours it into unexpected patterns. [Jun 2006, p.147]

Gleams with emotion. [Apr 2005, p.113]

Pop has made more nuanced albums than this in recent years, but Skull Ring is about reclaiming the franchise as unselfconsciously as is possible. [Oct 2003, p.125]

It doesn't feel like soapboxing; it feels like life. [Mar 2005, p.142]

Not as revelatory as Deserter's Songs, but a worthy (and lovely) companion piece. [Aug/Sep 2001, p.125]

Clones feels at points like a candy store that carries only one brand--it's a damn good one, though. [#18, p.130]

At their most thrilling, they fuse the spiky cool of Elastica with the witty self-consciousness of LCD Soundsystem. [Sep 2005, p.131]

The struggles to get over energize [Slug] far more than the perks of minor celebrity. [Nov 2005, p.131]

Amnesiac isn't a difficult album -- or, rather, it's not a mere experiment but a successful one... Nobody has ever made a record that sounds like this before. [Jun/Jul 2001, p.109]

Angry Mob delivers 13 consistently catchy tracks that bounce unrelentingly. [Apr 2007, p.115]

On Cry, Hill ripens, showing a boldness few artists ever manage. [#12, p.145]

An accessible art-punk collection. [Apr/May 2002, p.112]

The vibe is all infectious, feverish build-up. [Nov 2006, p.155]

Calla's tension-filled deliberations are similar to the calibrated push-and-pull of SIgur Ros, but not nearly as pristine. [#14, p.133]

On their lush major-label debut, the haunting Peter Gabriel-esque yawlps of singer Tunde Adebimpbe are punctuated by singer-guitarist Kyp Malone, whose raspy falsetto provides a sense of deadpan panic. [Jul 2006, p.103]

Amid the fidgety guitars and twitchy rhythms are enough hair-raising hooks to reach far beyond the counters of independent record stores. [Sep 2003, p.128]

[A] near-flawless suite of deep, dark and powerfully sexy tracks. [Apr 2006, p.112]

If their debut was a night of chasing skirts and drinking Jim Beam from the bottle, Heartbreak is the bitter, worn-out morning after. [Mar 2005, p.138]