With Ultraviolet, Kylesa has retreated to a place of darkness and alienation. [No.99, p.57]

Bishop's well-established fascination with Eastern music and mysticism proves a ready foil for Chasny's expansive, psychedelic Americana. [No.92 p.57]

The melodies are arranged with a cinematic sweep that elevates small moments of self-doubt and heartache into something bigger and more universal. [No. 108, p.53]

The Quins bring pathos and depth to sleek Katy Perry/Lady Gaga-esque electropop, true, but reaching for the golden ring too often dilutes the inventiveness and creative abandon that once made a new T&S record such an exhilarating proposition. [No. 132, p.59]

There is much to admire in the trademark plaintiveness and honesty on his seventh album. [No. 96, p.59]

Exhausting Fire is the fourth--and best installment of what will hopefully one day be recognized as the finest thing going in the forward-thinking heavy underground. [No. 125, p.59]

The Antibalas crew is in peak form, plating circles around any other second-wave Afrobeat outfit in town. [#90, p.53]

Here, the raw emotion in Grace's voice isn't diluted or smoothed out; her rage and vibrancy are front and center, and not just in song. [No. 124, p.53]

As comebacks go, it's perfect. [No. 124, p.61]

It's hard to imagine a better psychedelic-pop record this year than Satanic Panic In The Attic. [#64, p.102]

For those curious what the San Fran-tastic Four has left in the tank, here's what: false starts, faint praise, fart noises, mischievous grins, horns of plenty, golden deadpanning.... [No. 92, p.53]

At it's best, the record finds her swapping the heavy-handed concepts that've largely driven her work to date for the irrefutable impact of raw lyricism. [No. 93, p.56]

Seventh Tree is a moody, understated gem. A finer hangover record will be hard to come by in 2008.

The Milwaukee-based post-rock sextet pretty much turns its back on proggish theatrics this time around, instead crafting tracks so organic, they could pass for natural phenomena.[#81, p. 54]

A mix of ping-ponging bangers ("Hi," "Born To Suffer"), touching, presumed-true stories ("Joey's Song," "The Oldness") and two skip-now shockers dedicated to monstrous worthlessness ("I Luv Abortion," "Black Drum Machine") [No.86, p.60]

His [James Alex's] lyrics aren't particularly strong. [No. 126, p.53]

Sadly, Beams doesn't show Dear changing up his game in any meaningful way. [No.90 p.55]

Body Pill nods briefly to vintage Detroit techno and no-holds-barred house in between stiffly edging out its own ground on the very crowded floor that is contemporary dance music, often on the same track. [No. 117, p.59]

This is a record that fans of Juliana Hatfield, Lightning Bolt or King Crimson could fall in love without compromise. [No. 96, p.60]

Carried To Dust is definitely Calexico’s best-sounding record: Each voice and instrument has its place, wheeling around Convertino’s graceful drumming like dancers going around the maypole.

Cease To Begin is a fine, fitting return to familiar ground. [Fall 2007, p.91]

Thanks in part to producer Henning Furst, she succeeds in generating a summer feel-good vibe so potent, it'll feel all the better come winter. [No.92, p.59]

A personal (and personnel) triumph for the band. [#73, p.90]

Daniel and Schmidt have created a peculiar album that reminds us of the majesty contained in vintage machinery.

The 62-year old Springsteen sounds every bit the angry, empathetic and impassioned social commentator he was on post-Y2K rockers like The Rising and Magic. [No.86, p.57]

Their stinging, smart wordplay is dependably knotted and sneered, and even though it's difficult to separate their cadences, the collective passion present is undeniable. [No. 108, p.59]

The period specificity doesn't weigh down this buoyant album. [No. 102, p.60]

This is easily her fullest-sounding, most animated record to date, dense with layers upon layers of sound... and copious multi-tracking of Marshall's intimate, elusive, dispassionately soulful voice, which is richer and more versatile here than ever before. [No.91, p.51]