Eight is the sound of a band in flux, and that churn makes for some of Radar Brothers' most intriguing, compelling work yet. [No. 95, p.57]

Stones-y rockers a la "Heartstopper" and "Trouble" have more chug and balls than Richards' band has displayed in a while. [No. 126, p.59]

For possibly the first time ever, it's hard to tell if he's trying too hard or not trying hard enough. [No. 109, p.56]

Converts to the cause will find much to love here, and curious newcomers and Anglophiles, it's as good a place as any to start. [#82, p.58]

Don't expect anything more earth-shattering than pleasantly folky indie-pop with a mild rootsy lilt. If that's your bag, though, don't lose out on this one. [No. 131, p.55]

The trio's execution is impressive, but the music is so tightly wound that it engenders a yearning for escape. [No. 128, p.61]

The lyrics are often buried in the mix. [No. 128, p.61]

Control is the finger-pointing punk record of the year. [#54, p.101]

Her built-in fanbase will exult in the sulky ruminations found here. [#52, p.101]

Make no mistake: You will dance. [#64, p.80]

Cupid Deluxe paints him as a producer and songwriter with massive potential that's only just begun to be realized. [No. 105, p.52]

The result is music that undulates and bobs, never really going anywhere, but accumulating density. [No. 101, p.52]

Much of Cistern feels deliberately nebulous, washed-out and distended. [No. 133, p.55]

For My Parents de-emphasizes stylistic juxtapositions for a more holistic approach to epic soundscaping. [No.91 p.57]

Never mind McBean's more successful other gig; Mountaintops don't get much blacker than this. [#71, p.108]

If you don't smell the brimstone smoke of hell when listening to Nothin' But Blood, then you just don't get it. [No. 107, p.53]

During its most commercial moments, Frances ventures dangerously close to System Of A Down, without the nu-metal grandstanding or fake volatility. [#67, p.106]

Magnificent Fiend follows up the band’s self-titled 2006 debut in powerful style, fashioning a blend of hard blues, herb-smoke-encrusted rock, country-tinged folk and swinging, blue-eyed soul.

Alix's absence of missteps or variations could be taken as relentless or monotonous--or a couple of pop perfectionists who found what they've been looking for. [No. 114, p.57]

There's both freshness and familiarity to this live-in-the-studio effort. [No. 97, p.53]

The multicultural mix and match works best on “Oh, Mojave.”... However, the Ruby Suns are less appealing when they land closer to home.

Fans will love her subtlety and clean new sound, but someone just coming on board might not find this an essential listen. [No. 85, p.59]

Offers little bits of everything Luna does well. [#57, p.93]

Features the same lyrical spirit and disjointed soul rhythms [as labelmate, Shabazz Palaces.] [No.86, p.58]

The whole affair has the energy of a younger band, one just starting on its first album rather than an act 30 years old. [No. 99, p.53]

A surprisingly accessible island of misfit pop songs. [No. 113, p.55]

The result is a modern dream-pop classic, a victory more major than minor. [No. 133, p.59]

Contrary to the urgency of the title, Silencio! is more intermission than showstopper. [No.89, p.59]