There is real joy and loss within these unwieldy song titles. [#16, p.88]

Pajo clearly knows how to tinker without overcrowding, losing or insulting the pleasant, acoustic backbone of his songs. [#16, p.91]

This is beautiful, intense music, trapped in their tiny, distraught world. [#16, p.93]

Equal parts drawn-out and dreamy. [#16, p.97]

Resplendently elegant music for tearooms and trendy furniture shops. [#15, p.101]

It's retro-pop in the way that makes roller-skating suddenly less ironic and just plain fun. [#15, p.103]

Another Day... slithers easily into the company of his greatest releases, with jaw-dropping melodies and flawless, Passengers-era production, creating a soundscape as ethereal as Another Green World. [#16, p.90]

If you buy In Your Honor and toss out the second half, you'll own the band's best record since The Colour and the Shape. [#16, p.88]

The closest cousin to Odd’s sound is M83, but siphoned through the American ghetto instead of the French countryside. [Filter Mini, May 2005, p.16]

Annie is to Kylie Minogue as Kasabian is to Primal Scream: same song, different packaging. [#16, p.97]

They've certainly found a solid niche with the Big Star/Byrds bubble and pop. [#16, p.91]

A record with a few inspired moments that is otherwise uneven, incomplete, a little muddled and sonically hollow. [#16, p.86]

Attest[s] to the group's pummeling might off vinyl. [#16, p.87]

Ambitious. [#16, p.88]

The duo has not lost their touch for writing memorable tunes. [#16, p.92]

The most immediate tunes are undoubtedly the headbobbing rockers, but it's when Oasis stretch themselves that they are at their most interesting. [#15, p.91]

Amazingly, only a couple of times does the broadness of what is going on get in the way or misfire... and at album's end, you can look back in wonder at how in the hell a barrel of cartoon monkeys managed to pull it off again. [#15, p.93]

The stunning One Beat of 2002 is a tough act to follow, and The Woods pulls it off soundly (though not exceedingly) by slicing together another improbable mash of grace and chaos all in the service of elaborately unhinged melodies. [#15, p.95]

Of the three Stephen Malkmus solo albums, this is the one that sounds the most like Pavement. [#15, p.91]

Although Kanye's production work has certainly been more spectacular in the past, his subtle tweaks and inversions on Be provide Com with a revamped template. [#16, p.94]

There aren't many dull points on this two-disc collection. [#16, p.93]

This record doesn't top 2001's All Is Dream, but the bliss of "In The Wilderness" and "The Climbing Rose" were definitely worth the wait. [#14, p.98]

These are fully fleshed-out pop songs, rendered weird in the best possible way by an unfaltering ear for found sound and unusual arrangement. [#16, p.92]

It's exactly the record that everyone hoped Spoon would make. [#15, p.98]

The thread that made Weezer everyone's favorite nerd-rock quartet--the soul and core behind the dramatic guitar crescendos--has unraveled completely, leaving us with a record full of, well, a lot of dramatic guitar crescendos. [#16, p.87]

Manages to artfully encompass all that sucks about post-pubescent life... within an exquisite ball of heady poetry, cold composition, and the kind of warm brilliance that comes from only the most inspired of collaborations. [#15, p.96]

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

Put it this way: the Raveonettes have got one serious retro fetish. [#15, p.95]