Early Man pull off metal with a back-to-basics swagger--even if their relentless assault does get a bit samey by the end. [Nov 2005, p.111]

Dark cabaret with an unhinged, dervish energy. [Feb 2006, p.70]

Unlike the solar-powered efforts of The Thrills or The Polyphonic Spree, they understand, like The Beach Boys before them, that the best way to soundtrack a broken heart is to drench it in sunny three-part harmonies. [Jul 2005, p.102]

There's now a sardonic wit to these break-up ballads. [Dec 2005, p.120]

There's a real effort to forge beauty out of chaos without losing any of the chaos. [Album of the Month, Jan 2006, p.100]

As strong as this record is, there's a way to go to make good on the promise of its title. [Nov 2005, p.92]

Working with a major label has brought a new sheen to the Ladytronic wall of sound. [Oct 2005, p.94]

[A] triumphant resurrection. [Nov 2005, p.96]

There's nothing particularly profound here, but the combination of skanking, roots-reggae rhythms and O'Connor's still-gorgeous voice... is a winning one. [Nov 2005, p.106]

Contains the usual assortment of slurred tirades and workmanlike riffs, but it also features a smattering of minor Smith classics. [Nov 2005, p.96]

Lurch[es] from homecooked early Beck to the expansive hooks of Brian Wilson or Todd Rundgren. [Dec 2005, p.104]

Emily Haines is still secretly one of the most articulate, compelling performers in modern rock. [Feb 2006, p.70]

In among the glitch and twitch, however, lies the odd choice moment. [Nov 2005, p.114]

There is far too much going on at times. [Oct 2005, p.96]

Altogether lacking... is the crisp production that powered early hits like "Boo!", replaced by a rather unremarkable R&B job. [Nov 2005, p.94]

Musically at least, [Jacksonville] confirms Adams' restoration to rude health. [Oct 2005, p.106]

A cohesive album that is simultaneously Big Star-ish (but not slavishly so) and Chilton-like (but not depressingly so). [Oct 2005, p.98]

The finest moments... prove to be the same stripped-down verbally deft hip-hop that made their name. [Oct 2005, p.100]

Wildflower is more satisfying, less self-consciously searching for radio-friendliness [than C'Mon C'mon]. [Nov 2005, p.100]

An essential half-term report. [Nov 2005, p.94]

Witty, tragi-comic lyrics layered over busy beats, strings and electronic flourishes which never sacrifice intimacy. [Nov 2005, p.114]

Like most of their work, it all sounds teasingly familiar. [Jun 2005, p.97]

All in all, another album of low-key brilliance. [Sep 2005, p.114]

Frequently appealing. [Nov 2005, p.103]

Deep, warm, fully rounded and with no slack, Prairie Wind is Neil at his best. [Oct 2005, p.101]

The trio has acquired the confidence to cherry-pick tropes from dark-rock's heritage and mould them into thier own glum grooves. [Mar 2006, p.100]

Sisters Of Mercy fans will remain defiantly nonplussed. [Nov 2005, p.103]

Things go downhill as petty vindictiveness and insignificant beefs become the preferred themes. [Jan 2006, p.114]