The product of a joyously short attention span. [Jul 2007, p.92]

Over and over, these songs reveal how a wisecracking record geek can still achieve rapture. [Mar 2007, p.98]

While Brock's pop instincts have never been more refined, his jitteriness has never run more rampant. [Apr 2007, p.85]

The production is as overwrought as the antiwar themes. [Apr 2007, p.88]

If 2004's killer Shake the Sheets was Leo's Give 'Em Enough Rope... Living With The Living is his London Calling, an hour-long Rolodexing of sounds and visions. [Mar 2007, p.94]

You've heard these overheated tales of wild girls and outlaw boys many times before. [Mar 2007, p.97]

This stream-of-consciousness head trip blends tricky, delicious melodies and slippery lyrics, yet never lapses into annoyingly smug artiness. [Mar 2007, p.88]

Equal parts faithful-but-twisted boom bap and avant-indie rock, the album drips with elbow grease. [Mar 2007, p.91]

Call it Everything About The Girl. [Mar 2007, p.99]

His slumbery Jonathan Richman-meets-Beck vocals make every song a potential slacker lullaby. [Mar 2007, p.97]

Showcases skittering electronics framed by grounded, dynamic percussion. [Apr 2007, p.88]

Somehow, these constant flourishes enhance, rather than obscure, the disc's plentiful catchy bits, giving Person Pitch a resonant, off-kilter charm. [Apr 2007, p.93]

Though Dilla's rapping is never more than competent, Ruff Draft is still a platform for the versatility of his eccentric genius. [Apr 2007, p.88]

While all that harmony is good for revving your sugar motor, no conflict means no relief, just repeated shots of childlike cheer with no chaser. [Mar 2007, p.94]

John Agnello's knob-twiddling is spot-on. [Mar 2007, p.98]

Western Xterminator ventures further from the '90s opiate-blues legacy of Trux, sounding more exploratory than RTX's debut. [Mar 2007, p.98]

These young Scotsmen have grime to spare, along with a belief in rock's power to rescue them from it. [Mar 2007, p.99]

Trades Parachutes-era wistfulness for Kid A-style gloom. [Mar 2007, p.88]

Like most of these top-shelf indie-pop tunes, ["101"] is cause for hoping Julian Casablancas loosens his songwriting grip on the next Strokes album. [Mar 2007, p.94]

Myth Takes juxtaposes tribal post-punk with crooked attempts at actual pop, giving their epic groove-riders a booty-stimulating boost. [Mar 2007, p.86]

Occup[ies] a hushed netherworld between classical minimalists like Erik Satie and Timbaland (without the beats). [Mar 2007, p.86]

Neither a timid repeat nor a knee-jerk departure, the bigger, bolder Neon Bible better captures what Arcade Fire achieve live. [Mar 2007, p.85]

An excellent collection of space folk and ramshackle Tropicalia that matches the wild-eyed absurdism... of his band's better output. [Apr 2007, p.94]

It's a sober cruise down the white line between timelessness and nostalgia. [May 2007, p.90]

Whiteman recombines mambo, Americana, and mesmerizing BSS-style rock with infectiously rambling results. [Mar 2007, p.88]

Both a big relief and a mild disappointment. [Mar 2007, p.90]

Too often [Woomble] is an impotent voice struggling to cut through the clutter. [Apr 2007, p.88]

Longer on nuance than hook. [Mar 2007, p.98]