4 shows Dungen has a vision unmatched in music today, and an album their larger peers in rock experiements could only dream of producing. [Fall 2008, p.94]

Murs' spitball rhymes and thick beats have always showcased a proclivity for stardom, and they bear fruit on the soulful piano galumph of 'Time Is Know.' [Fall 2008, p.102]

In brief, it's one of the grooviest albums you'll hear--Saudi Arabia, here, or anywhere else. [Fall 2008, p.100]

Though Does You Inspire You doesn't always flow smoothly, the merit lies in its diversity--a quality that is often lacking in today's indie sound. [Spring 2009, p.103]

Cool is a fleet-footed concept, and revisiting JAMC--particularly the new content--is a genuinely pleasant experience. [Fall 2008, p.105]

How can Scots with such a wry sense of humor make you believe they are so very, very serious? Sometimes the song titles speak for themselves, almost seperate from the music. [Fall 2008, p.94]

They're better when they're reflective, not reflexive, as on the galloping, careening 'Be Somebody' and the mournful 'Cold Desert,' but the album lacks the hooky rock the band once pulled off so effortlessly, even when thry weren't trying. [Fall 2008, p.91]

Dear Science has its moments, but these moments means less and weigh more. Pretty cool? Well, it's pretty alright. [Fall 2008, p.91]

Loyalty To Loyalty proves that, through it all, the Cold War Kids are a keeper. [Fall 2008, p.90]

The two marry sounds of melodrama and sheer polyphonic weirdness for a result gone (sometimes) wonderfully awry. [Fall 2008, p.98]

Furr's tight structures and stripped bones soar. Not that they've abandoned that record's ["Wild Mountain Nation"] sonic spectrum entirely; there's plenty of buried headphones treasures throughout, and they still steal gleefully from your parents' best records. [Fall 2008, p.92]

Brown has an unlikely knack for putting quality into cliched, classic disco and rock. [Holiday 2008, p.106]

Somewhere in the English to Japanese to...uh, English translation, the wonderful quirkiness inherent in their delivery and meaningless lyrics was misplaced. [Fall 2008, p.105]

The Stand Ins is rich with traces of its conterpart. [Fall 2008, p.92]

The band puls science closer to post-rock with songs like fractals, repeating notes until you don't think you can bear their recurrance, then spangling out into gorgeous odes to the passage of time and the beauty of the loss therein. [Fall 2008, p.102]

The quartet's cycle of jam band guitars and lamentable retrospectives os a smidge repetitious but there's comfort in the routine. [Fall 2008, p.97]

It's no sophomore slump, but it's a little disappointing to see a band embracing city life, backing chugging electric guitars with metered, occasionally mechanical rhythms. [Fall 2008, p.105]

The singer's quivering tenor is still fixated on death and a dystopian future....It'd be scarier if it didn't follow a song about a Teenage Mutant Ninja Turtles costume, but that's VanGaalen's charm. [Fall 2008, p.98]

Apollo Sunshine has finally created the audio beast we've been waiting for--a feast of emotions, sounds and additional weirdness. [Fall 2008, p.98]

Those of us disenchanted by genre specificity may give up on proVISIONS upon the line, "It was there in Galveston," and its accompanying played-out, imitive Western guitar line. [Fall 2008, p.97]

Andersson allows her vocals to swim straight to the surface of her latest record. The resulting 12 tracks yield mixed results. [Fall 2008, p.100]

Some songs are happy songs; some are sad, but the pure joy of melody shines through in every one. [Summer 2008, p.92]

A Nordic slice of pop heaven that ranges from electro-Calypso bizarrity to hand clap-driven electro anthems about "Breaking It Up." [Summer 2008, p.102]

With lyrics appropriated from an e.e. cummings poem of the same name ["Dying is Fine"] contrasting with bouncy guitar riffs, the creation feels fresh; the past, unforgetable. [Summer 2008, p.91]

Chemical Chords is yet another kaleidoscope that hits you as ear candy upon first listen, but like most Stereolab records, further inspection reveal a playground for the mind. [Summer 2008, p.97]

This is an incredibly abrasive album.... There's screaming on this album, lots of it...nay, way too much. [Summer 2008, p.102]

You & Me has a panache that hearkens to an earlier era, acting like a rich veneer. Layers of energy, intimacy and meaning rise to the surgace to become a deeper part of you and me with each and every listen. [Fall 2008, p.91]

Nothing Is Precious Enough For Us sustains the antebellum lilt and spare arrangements of the first album. [Summer 2008, p.105]