Lightning Bolt is only more competent than Foo Fighters, Vedder and Co.'s rival for the planet's straightest rock band. [No. 105, p.57]

The Private World Of Paradise does have a somewhat rustic, indie-rock feel, though augmented with a greater wealth of instrumentation. [No. 107, p.61]

There's still plenty to get excited about here.... But the stinkers here--like would-be Bowling For Soup b-side "Karaoke, TN" and "Coat Check Girl"--nearly soil the whole thing. [No. 118, p.57]

You have to admire the survivalist nature at hand here and the ability to craft an album that doesn't smack of inorganic hashtag laziness like those of many contemporaries. [No. 145, p.59]

Mostly, the remix collection works in this vein, mutating the originals by further accentuating the brooding atmosphere and driving the beat harder. [No. 94, p.61]

Decidedly pleasant. [No.87 p.60]

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

It's difficult to accept him as an angry rocker. He's so great as a lovelorn crooner - heard here on "Seek It," one of the album's few moments of tenderness - that it's hard not to be nostalgic for the old Hawley. [No.91, p.55]

The sum of these elements could achieve greatness if not for one simple-yet-major falw: Beach House manages a memorable sound but not memorable songs. [#74, p.91]

Every song on debut Alight Of Night seems to be falling apart, mostly because vocalist Brad Hargett’s melodies are off the map.

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

You wonder if he's forgotten how to have, you know, fun. Approach with caution. [No.87 p.61]

The duo's intoxicating sense of endless sonic possibility remains, but the many lovely moments rarely amount to memorable songs, and several shout-outs to its still-enchanting debut fells like cruel teases. [No. 112, p.57]

Just when the Los Angeles-based trio's fourth album threatens to dissolve into another sleeping-beauty effort you might enjoy as a nightcap, something happens... [#48, p.74]

The Notwist’s last album, 2003’s "Neon Golden," was irresistibly catchy and irretrievably downbeat. Both of those qualities are muted on The Devil, You + Me, the German combo’s long-in-the-making follow-up.

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

The superficial snarl and by-the-numbers rawk in the middle on tracks like "Haste The Taste" and "Teenage Disease" never find equal footing with the album's inspired bookends. [No. 96, p.53]

The combination here of light electronic production, show-stopping African vocals, Mumford harmonies and heart-on-your-sleeve pop is hard not to love. [No. 133, p.59]

Pretty and pleasant without ever being especially compelling. [#67, p.100]

The instrumentals, which mix grainy field recordings with more forthright electronic melodies, assert a strong presence, but not enough to rescue Hymnal from a state of irresolute inbetween-ness. [No. 96, p.58]

When this band surprises... it provides moments indie rock could use more of. [#70, p.102]

Love From London could use more of those surprising or insightfully startling juxtapositions that define his best labors. [No. 96, p.58]

Williams pits his angst-y tendencies against grunge's proven, angst-coddling backdrop. [#82, p. 62]

Their fourth full-length has the band members grabbing snippets of musical influence from all over the Pitchfork-approved map. [No. 96, p.54]

For all its attempts at hipster currency, Evil Heat reveals the needle-shaped creative hole where the drugs used to be. [#57, p.102]

As tasteful as it all is, you still wonder what Vetiver is bringing to this material other than reverence. [Summer 2008, p.109]

He's perfectly adequate as a singer and melody writer, but he doesn't have the indelible personality of a Morrissey or Isaac Brock. [No. 96, p.56]

The synths are crisp and warm, and the beats are motivational in that '80's coming-of-age soundtrack way. [No. 85, p.57]