As a 33-track double album, With Love has space for a small village's worth of memory lanes. [No. 100, p.61]

Thankfully Santigold has focused on quality, not quantity, as her third LP makes evident from the very start. [No. 128, p.61]

Building considerably on the subtle expansion of 2006's "Bring It Back," the powerhouse Re-Arrange Us is both natural progression and quantum leap. [Summer 2008, p.107]

It's pretty weird. Not necessarily any weirder than your average Lambchop record, although it is, for the most part, considerably less gorgeous. [No. 124, p.57]

Even if some listeners might ding Lo Tom for playing it a little safe, there's really not a wrong note on the record. [No. 145, p.57]

Jimmy Eat World has become a purveyor of modern rock that just so happens to have a noisier background that jerks like me won't let it live down. This permits recognition of well-penned, upbeat numbers like Appreciation" and "How'd You Have Me." [No. 100, p.55]

The finest moments here are all Feist-like. [#70, p.102]

The melancholia lacks distinguishing marks. [#64, p.80]

This secret society's sonic output is nothing short of sheer musical buggery, a hip-hop twilight realm where Dr. Octagon performs transplant surgery on Mellow Gold with the cast of Scooby Doo in the gallery. [#50, p.89]

It's hardly revolutionary, but Episodic is an immediate, righteously enjoyable half-hour. [No. 134, p.57]

If New Facts Emerge reminds the listener of any post-millennial Fall album, I'd have to go with 2003's The Real New Fall LP. [No. 145, p.55]

The Whigs occassionally hit on moments of poignancy, but most of their time is spent reinventing the classic-rock wheel in a rather self-aware fashion. [Winter 2008, p.114]

It undermines its poppy ideas with unorthodox chord changes, meandering melodies and a jarring minor/major push-pull. [No. 117, p.61]

Lady gets high marks for nostalgic soul--with all the trappings of horns and strings--but ultimately the album recalls everything that was great about '60s soul, past-tense. [No. 96, p.56]

Decidedly pleasant. [No.87 p.60]

Their dizzy, easygoing drone-pop has been replaced with faceless consistency, a sonic chutzpah that cries out "modern rock." This in itself doesn't mean Take Back... is a flop -- far from it. [#49, p.71]

Sonically, visually and thematically, this double disc is grandiloquent, like the great progressive music statements of rock history. [No. 145, p.61]

Gradually succumbs to torpor, with track after track given over to midtempos and pretty-yet-languid riffing. [#64, p.104]

Detrola, while still unpredictable, manages a certain unity. [#71, p.99]

A notably more polished and considered affair than his erstwhile Sentridoh offerings, though it captures a comparable sense of intimacy and immediacy. [No. 125, p.54]

It's easily Emerald's least utilitarian album yet. [No. 94, p.53]

The songs' infectiousness outweighs their questionable stylizations. [#81, p. 53]

Baby 81 finds BRMC back in control of the street corner, cigarette squints and rock'n'roll swagger intact. [Summer 2007, p.90]

It’s a simple collection of typically melody-rich songs for piano, bass and drums (Jackson is backed by JJB alums Graham Maby and Dave Houghton) that occasionally swings (“The Uptown Train”) and sometimes lurches like the good old days (“King Pleasure Time”).

It's unclear whether even Kotche really knows what's happening half of the time, but it's a delightfully puzzling ride nevertheless. [No. 108, p.55]

What's great about English Little League very much preaches to the choir. But it's nevertheless clear this crew is ready to welcome some new converts once more. [No. 98, p.51]

Her vocals throughout the album sound relaxed and carefree, with wordless bridges that convey a giddy exuberance beyond the power of any lyric to convey. [No. 115, p.55]

There is nary a wasted moment on No Control. [No. 120, p.61]