This is My Morning Jacket's shining moment. [#22, p.94]

If they keep churning out albums this enjoyable, we won't ever get tired of the Zutons hanging around. [#21, p.93]

Effortless pop with an undenaible solo-era Stephen Malkmus quality that just makes you want to go on a long drive. [#22, p.100]

This is the musical equivalent of a Volvo wagon. [#22, p.102]

As an artistic achievement, it ranks incredibly high on the list of great postmodern statements. Here is a piece of music (but oh so much more) that proves that something new can be done, and it can be entirely engaging. [#21, p.92]

Uncharacteristically lazy beats, chintzy instrumentation, ambiguous "sexy soul" vocalists and third-grade lyrics. [#22, p.96]

As on 2004's Last Exit, their arrangements are deftly drawn, precisely executed and drenched in pretense-free pop. [#22, p.96]

The same wail-filled, guitar-driven dance music of yore, but this time with hints of rough Brit-rock sensibility, vague wafts of pared-down techno and two last tracks that make little sense to the rest of the album. [#22, p.100]

They've trimmed away the electronic tinges and space-jazz tendencies of recent years, leaving us with a sharper, more focused Yo La Tengo. [#22, p.93]

Ultimately, Viva Voce get away with incorporating (and occasionally copping) such disparate influences because around each hairpin turn runs the unique voice and vision of the artists. [#22, p.98]

This is the band's most cohesive, accessible, melodic and lyrically viscous record to date. [#21, p.99]

[Kasher's] storytelling is still right up there with the very highest of Saddle-sitters. [#21, p.97]

The fuzzy grooves on the record stand out as sicker and more focused than anything the United States of America or Morricone ever splattered onto a canvas. [#21, p.93]

Wonderful. [#21, p.94]

An album confident enough in its substance to not force profound stylistic changes. [#21, p.100]

Flying solo, she's surprisingly mournful. [#21, p.102]

You want this album. [#21, p.98]

For the most part, Jay Dee sounds like The Shining's administrator, rather than its sole (and soul) creator. [#22, p.102]

There is an unhinged, maniacal desire to cross on over into the cosmos on Comets on Fire's (frankly) totally awesome new record. [#21, p.100]

A glowing psychedelic pop opus. [#21, p.102]

[A] failed attempt to straddle nostalgia and reinvention. [#21, p.95]

Fans will love it; hipster kids can hear what the Strokes would sound like if they suddenly had the subtlety bludgeoned out of them. [#21, p.100]

AFD finds the band perhaps at their most serious... and perhaps at their most bestest. [#21, p.102]

[They've] caught on to what all those indies don't get--it's not just "tension;" it's "tension/release." [#21, p.100]

As assured as it is unfinished. [#21, p.95]

Oneida have blossomed into a welcoming landscape all their own. [#21, p.102]

There's more meat on this album's bone than on the laughable Fatherfucker. [#21, p.99]

It's hard to imagine that fans of Radiohead will be all that disappointed by The Eraser, and it's miles better than a dozen or so other solo projects that come to mind. [#21, p.93]