We Are Him arguably surpasses his work with his old band merely by simplifying things a bit. [Fall 2007, p.90]

While longtime fans may lament the paucity of instamatic anthems, 'All The Old Showstoppers' and 'Unguided' reveal their charms with each new verse. [Fall 2007, p.106]

Andorra is, to use a phrase not heard much anymore, all killer, no filler.

Mentor Tormentor may be Earlmart's best album. But it still falls short of greatness, hamstrung by songwriting and production moves that have clearly become the band's comfort zone. [Fall 2007, p.93]

It's full of loose sing-alongs, drunken chants and spooky ballads; of apocalypse, synicism and Satanism; of a jaded worldview that joyfully sees everything as --in the words of the opening track--"Dark dark dark." [Fall 2007, p.102]

Unfortunately, on the rest of War Stories, Lavelle plays it safe by sticking close to poppy electro-dance tunes.

The Broken String easily takes its place alongside those classics [Wilco’s Being There and Ben Folds Five’s self-titled debut].

With a few exceptions, the rest of Goodbye remains little more than background music destined for life in service to candle boutiques and Saturn commercials. [Summer 2007, p.106]

Don’t fetch the gurney just yet. Seems Buffalo Tom still has a few good ones left in ’em.

Elegantly crafted and darkly mischievous.

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

The results are everything you'd expect from the guys responsible for Pulp's This Is Hardcore, Air's Moon Safari and Beck's Sea Change. [#75, p.98]

A sinister, slinky catwalk with sharper melodic angles and a propulsive, post-punk groove. [#75, p.99]

It's not everyone's glass of absinthe, but Adventures will find a happy reception among listeners who want an occasional hallucination to go with their usual woozy drunkenness. [#75, p.94]

There's always a surplus of good humor to carry us past the rough patches. [#75, p.98]

I can't help but think we've all been here before. [#75, p.102]

Apocrypha feels of a piece with Eggs, though without as many layers or as heightened a sense of playfulness. [#75, p.91]

What the album lacks in diversity and lyrical depth it more than makes up for with Technicolor-daydream choruses. [#75, p.98]

A delightful surprise. [#75, p.99]

If you're sitting still through Myth Takes, you might be dead. [#75, p.90]

As is the risk with such serious-minded albums, a few songs err on the side of heavy-handedness... but Arcade Fire's raw passion and heartfelt ambition remain intact. [#75, p.90]

[It] sounds like the album Whiteman has been waiting to make his whole life. [#75, p.99]

Security brings new elements to the mix without compromising Antibalas' fundamental power. [#75, p.94]

A masterpiece that flows brilliantly. [#75, p.97]

Pleasant if unspectacular. [#74, p.96]

Strength In Numbers makes you wonder if you ever really liked this band at all. [#75, p.94]

It's a tossup as to how much of Conn's shtick is a put-on, but when the music's this good, that's a moot question. [#75, p.94]

Sounds like somebody has exited the coffeehouse with a strong jolt of caffeine. [#74, p.101]