The record is full of texture, and while it maybe isn't essential listening, it's a nice addition to both catalogs. [No. 109, p.55]

Bras finds the Knoxville, Tenn., trio scaling back the noise in favor of tuneful, even sweet performances. [No. 103, p.60]

It's pretty, non-threatening, and your mom might enjoy it, though don't let that be a criticism. [No. 93, p.53]

The Sadies can still sound like the best rock 'n' roll band in the world, but here. for all their brilliance, they miss that steadying hand. [No. 103, p.60]

Other than the crowd noise, you’d have a tough time distinguishing the two albums. This is a good thing, as applying studio sheen to the Black Lips’ primitive mix of acid-damaged psychedelia and beer-fueled garage rock would be akin to putting lipstick on an orangutan.

The band's twee-ish melodies are still firmly in place, and the album has its softer acoustic moments - but the big slabs of rock all over In The Belly Of The Brazen Bull help give it a fantastic heft. [No.87 p.56]

Sounding like mid-period R.E.M. isn't the noblest of ambitions, but it somehow seems to work. [#69, p.98]

The pummeling drums and gnarly guitar may sound hardcore on first listen, but they're augmented by bright pop touches that make the bitter sentiments expressed in the lyrics easy to swallow. [No. 103, p.61]

The album is so unassuming and unhurried that it's easy to dismiss. Just hang in there and play it again. [#74, p.97]

Unforgettable choruses and custom Yorn finger-strum pattern are abundant. [No. 130, p.60]

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]

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

Pajo comes as close to capturing his mercurial talent and shifting identiy as we're ever likely to hear. [#68, p.106]

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

[Town and Country] have the compositional savvy and play with the precision to make such passages hypnotic rather than pretentious. [#54, p.110]

Cameron's vocals have a dramatic quality hat crosses the detached phrasing of David Bowie with Nick Cave's tortured rasp. [No. 134, p.55]

The band is beyond tight, and not only does singer Bruck Tesfaye possess the requisite mellifluous diction, he has an impassioned delivery that reaches effortlessly across language barriers to collar anyone ready for a good time and haul them willingly onto the dance floor. [No.90, p.58]

Musically, long-time fans will appreciate that very little variation has been mad on their theme. [No. 130, p.61]

Seductively strange. [#73, p.98]

There are moments when all this earnestness turns sickly and Burns gets too serious about his gifts... but the eclectic moments of bass, banjo and French vocals... manage to jerk things back into focus. [#71, p.88]

“Teaching Little Fingers To Play” is a bit hokey and clichéd. But on “If I Lost You,” the vibe connects massively: Serene loops and swift beats recall vintage Portishead, while Manson’s lyrical meditation on insecurity is stark, vulnerable and remarkably honest. [No. 132, p.53]

Ambitious, risky and occasionally rambling, this is a song cycle best absorbed in a start-to-finish listen. [#73, p.93]

Top Of The Pops highlights everything that originally captured us, and makes a convincing argument as to why the band's following full-lengths are worth the money, too. [No. 98, p.52]

While the song remains beautifully, remarkably, the same, it's getting harder to like. [#55, p.72]

A sweet deja vu, it's 1991 over again. [#68, p.111]

Mixes equal parts Teenage Fanclub and mid-period Wilco. [#74, p.91]

Midnight might confuse (and lose) fans who have somehow missed the memo that Potter is creatively restless, but it's a boldly rhythmic step in a wild new direction. [No. 123, p.56]

Much of the LP will be familiar to anyone who caught them on the road last year, but songs that curled into smoky haze onstage come into sharp focus here. [No.92 p.61]