On Dark Light Daybreak... Now It's Overhead cuts back on its former haze to graze in cleaner pastures. [#73, p.103]

One of Molina's strongest, most interesting records yet. [#73, p.96]

While Grizzy Bear often comes off as some backwoods cousin of the Elephant 6 collective, the band sports as much texture as Boards Of Canada. [#73, p.93]

Though there's plenty of wit... to go along with copious amounts of jangle, twang and... Brian Wilson-esque sweep, there's often an overriding, wistful sadness mixed in with the Left Coast hedonism. [#73, p.106]

He pushes himself into unfamiliar, often sonically jarring new terrain. [#73, p.112]

A personal (and personnel) triumph for the band. [#73, p.90]

Damaged excels in what Lambchop does best, which is to gather up a dozen-plus musicians and get them to play as little as possible. [#73, p.98]

It's quite haunting. [#73, p.103]

Largely thanks to more robust production and instrumentation than was afforded last year's Pajo, 1968 proves that it isn't so much what you say, but how sweet you can make it sound. [#73, p.103]

The most mature and cohesive set of songs in Ward's catalog. [#73, p.109]

It's very Art Of Noise circa 1991. [#73, p.104]

The uniformly dark, driving song cycle has no real high or low points--just 11 consistently thrilling guitar and drum loops led around in circular crescendos by Windett's wire-taut tenor. [#73, p.84]

Bed... opts to crank the volume knobs a little, with wildly divergent results. [#73, p.100]

Interesting sounds? To be sure. Impenetrable songs? That, too. [#73, p.94]

Seductively strange. [#73, p.98]

Fairly golden and never uninteresting. [#73, p.110]

Predictable pleasures abound. [#74, p.95]

Leadoff track "Six Feet Under"- with its whispery falsetto chorus skewered by the ominous plea, "Call me when you're six feet underground" - is among the catchiest and most emotionally exposed songs Auer has ever recorded. [Jul/Aug 2006, p.86]

Cement[s] the Truckers' status as one of the best rock 'n' roll bands going. [#71, p.93]

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]

Morrissey regains his knack for conversational hooks and his wry, literate sense of humor. [#71, p.105]

Taut, catchy songs ripe with beginner's pluck. [#71, p.105]

There's a lot to love about 'Sno Angel... Like You. [#71, p.98]

The brevity gives the tunes space to present themselves without a needless bridge here or a prideful coda there. [#71, p.102]

A mixed bag. [#71, p.102]

A surprisingly mature effort. [#71, p.112]

Coomes' vividly imagined, bloodcurdling tales of anger and dreaming are so cleanly produced and layered... that you barely remember how lousy Quasi's other records sound in comparison. [#71, p.110]

[An] impressive debut. [#71, p.87]