He's back again, doing what he's always done--speak his shattered mind while some band choogles in the background. Mostly they supply adequately sweaty R&B and P-Funk-meets-AC/DC riffing. [No. 132, p.61]

There's a brighter sheen to the new Shins ... [yet] too often feels like Mercer's straining and striving when he used to be quirky and charming. [No. 85, p.51]

Set Free is no rehash, simply an album whose parameters are clearly defined in order that its interiors can be brought to life. [#69, p.86]

Uneasy listening, certainly, and not for the cursory-minded. [#59, p.94]

The major distinction this time around is the eerily cheery delivery. [#64, p.110]

Lovers Know is an unexpected turn that is saved by the passion of the performer behind it. [No. 123, p.61]

There is still pullback, and delicate, melodic music seeps in, sounding like (synthetic) waves crashing on a (glass) beach. [No. 92, p.52]

Loud and big--stadium big, major-label big--and although it has soft patches, much of it hurtles forward with welcomed urgency. [No.89, p.58]

Isaak's 12th record is simply a solid, predictable Isaak album. [No. 126, p.59]

The music on Weekends is balanced between bright, up-tempo numbers and cheerless explorations of loneliness and heartache, but even on the dance tunes, the somber lyrics keep things from getting too exuberant.

Broken Bells' initial salvos may have set their parameters, but After The Disco expands, transcends and redefines them. [No. 106, p.52]

That Different Days is so listenable despite its flawed nature is testament to Costa and Anderson's wonderful songwriting and shrewd decisions. [Jan/Feb 2005]

Weezer, the 10th album by Weezer, is about as good (or bad, your call) as Weezer, several measures worse than Weezer, and a once-you-hear-it, you'll-never-unhear-it skid mark on the shorts of Weezer. [No. 130, p.51]

A sensational album by a band willing to take risks, Both Lights offers an exhilarating glimpse at pop music's future. [#86, p.52]

This is a soul singer's album all the way.... And it's a happy throwback in other ways, too. [No. 122, p.57]

His voice sometimes veers into brief, impressionistic Lou Reed talking or Mary Gautier twang, but mostly it's seductive. [No.85, p.61]

Hearing these songs all in a row, most sharing the same basic beat and harmonic structure, can make the title feel uncomfortably prophetic. [No. 95, p.60]

The guitars are gorgeously recorded, the vocals are gently understated and the occasional keyboards are carefully mixed into the background with a simple, earnest warmth. [#49, p.79]

This disc is pure Stewart - urgent, visceral electro-protest for the 21st century. [No. 85, p.59]

A comeback triumph that exchanges the desiccated roboticism of its predecessor for the vital, maniac, seductively imperfect epic exuberance. [No. 109, p.55]

As it's continued to grow, Ida has begun to sound almost ordinary. [#67, p.98]

Not only does Bankrupt! propose a big, stadium-ready sound, it offers one that nearly suffocates its creators. [No. 98, p.59]

The album’s sound is a more intricate remix of Fauna’s futurama, another hyperbaric disco chamber filled with technoodling beats backing pop operettas, while the lyrics sometimes do that magnum opus one better.

Three cheers aren't enough. [No.99, p.59]

Seekers And Finders is the straight cannonball the world's premier Gypsy punks haven't quite offered since 2005's Gypsy Punks: Underdog Wold Strike itself. [No. 145, p.55]

Black Pudding is like any other Lanegan record, just with better chops. [No. 98, p.56]

Meatier than the handful of singles and EPs that have boosted the Tanlines name to date. [No. 86, p.58]

Sadistically fun. [#60, p.97]