The pop smarts practically shimmer throughout. [Dec 2001, p.83]

It's moody as hell, with an aching, nameless despair and all the intimacy of a crack-up. [Jan 2005, p.108]

Reverbed aggression never sounded so good. [Mar 2013, p.92]

The serrated serenades of Object 47 offer all the compact joys of past Wire classics like "154" and "Chairs Missing," but amplified and digitalized for the internet age. [Sep 2008, p.149]

While much of contemporary music fixates on flash and bang, it's refreshing to hear emphasis on what the singer is saying. With a lyricist this gifted, that more than suffices.

It's about as close a facsimile of the fractured and foreboding scattershot thoughts that haunt most of us at night as one can capture on record. [Feb 2008, p.115]

He used his left brain--logic--to access his right brain--emotion--to create what might not be the best Weezer album, but most definitely is the perfect Weezer album, at least right now.

Cliff hasn't sounded this loose and giddy in years, and it's a thrill to find that side of him back in the music game.

If the songs blend together a bit, that's called a style, and Interpol have always had that on their side. [Oct 2014, p.100]

The band are writing songs still riddled with emotional turmoil, but they seem more jaded and contemplative. [Nov 2014, p.100]

It's a fairly strong, welcomed return from one of the decade's best bands of its kind. [Jan 2015, p.91]

It showcases a wise and occasionally raw Hause sharpening his veteran punk chops into rousing and often smoothly melodic fare. [Mar 2017, p.82]

The finest moments om the buzzsaw riffage category arrive via the majestic "Triumph," a waking Siamese (Day)Dream, and the skin peeling darkness of "Ripe." [Mar 2015, p.94]

Really, Surfer Blood always reminds us so much of the Pixies, and that isn't changing much with Tarot Classics. [Dec 2011, p.124]

He rhymes like a champ. [Jun 2007, p.160]

Against Me! were great because of their flaws, not in spite of them--White Crosses just isn't that much fun to listen to. [Jun 2010, p.102]

Coxon's solo career has long suffered from the Bob Pollard syndrome of self-indulgent quantity over quality--a setback that, unfortunately, also plagues much of Happiness In Magazines. [Mar 2005, p.132]

Fallon's lyrics continue to embrace the Americana ethos that is sucessfully married with a soulful punk sound as timeless as the sentiments that inspire him. [Sep 2008, p.148]

While some of the songs from 2008's "This Is Not The World" seem encumbered by big production, the 11 tracks on The Chaos sound more rough and immediate, allowing the band's natural energy to come through naturally. [Jul 2010, p.126]

The recording quality is awful, but the glee with which these legends dust off forgotten gems like "Never Been In A Riot" easily makes up for it. [Feb 2004, p.76]

An organic burst of music and melody that is Matranga's best work yet. [Apr 2004, p.84]

Chris Conley's metaphorical lyrics remain earnest enough, but because of studio trickery, his vocals sound annoyingly nasal. [Oct 2003, p.120]

Decidedly mellow and acoustic in nature, 'Excuses' continues [Neil] Halstead's love affair with country, folk, and pop.... masterfully written, recorded, and played. [#147, p.103]

Stereolab continue to elevate breezy retro pop to luxurious new heights of spac-age swank and bilingual bliss. [Mar 2004, p.94]

This cause-minded screamo-ish collective is older and more grounded, but are no less committed to inciting change that sticks. [Jul 2015, p.98]

Somewhat mirthless and at times downright android-sexy, The Eraser is what many Radiohead fans have come to expect from Yorke in recent years. [Sep 2006, p.228]

[Rave Tapes is] some of the prettiest work they've recorded. [Feb 2014, p.92]

The Nirvana box set isn't the Holy Grail. The Nirvana box set isn't even Incesticide. [Jan 2005, p.105]

The recordings have the warmth and pop of a vinyl record, creating a perfect environment for Adams to honor his influences.

The signature '97's twang takes a backseat to finely tuned pop songs. The downside? It falls short of going anywhere new musically. [Jul 2009, p.130]

When she and bandmates Sara Lund and Seth Lorinczi kick into distorted overdrive on searing tracks like "Pulling Pieces" and "Doubt," it only makes Tucker's return more welcome. [Nov 2010, p.116]

The album's missteps appear when the band slows things down; but for the most part, First World Manifesto is Pop-Punk 101, which is to be expected from a bunch of veterans. [Apr 2011, p.122]

Every moment on Dealer feels intentional, and as a result, gorgeous. [Nov 2015, p.96]

Mazzy Star may not have evolved much over the past 17 years, but Season Of Your Day proves they never, ever need to. [Oct 2013, p.88]

Alone, Air and Earth are the weakest of the EPs, but taken as a whole, Thrice have managed to convert an ultra-abstract concept into a cohesive and innovative collection. [May 2008, p.143]

From Death To Destiny also features a better Avenged Sevenfold song than that band's ever written in "White Line Fever," and some genuinely affecting strings on “Run Free.” Even if Worsnop refuses to grow up, his bandmates seem to be trying.

The Flatliners here transcend genre distinctions to make a great rock record, period. [Oct 2013, p.94]

Go is a genuinely beautiful, emotionally resonant must-hear. [Apr 2010, p.126]

Floyd kick the shit out of 99 percent of the current post-rock crop, so you can't fault CBP for clinging to Picasso's claim that "Good artists copy; great artists steal." [Jun 2009, p.104]

It's an honest record, a welcome return and a confident entry in the Spiritualized canon. [July 2008, p.156]

These five songs show the band branching off into some surprising directions. [Jun 2003, p.103]

As perfect pop goes, the Januaries hit all the right exotic buttons. Their songs bubble with Stereolab's bop-ba-bop melodies, glide effortlessly on Saint Etienne's dance-savvy '60s pop, and float on Air's variety-show timelessness. [12/2000, p.99]

The tracks are teeming with intelligence, melody and some tempered anger thrown in for good measure, saving the band from being labeled as mere copycat. [Mar 2014, p.93]

Mostly, Hug Of Thunder feels like a sign of maturity to complement a more weathered and warm approach to songwriting that includes a lot of electronic pulses and skybound singalongs.

Crafted with peaks at the beginning, middle and end, Watch Me Fall is the album Jay Reatard made so we can watch him do the opposite. [Sep 2009, p.108]

Wolf's delivery is more restrained as he refrains from his usual outbursts of energy. [Oct 2009, p.115]

We Don't Even Live Here explores the dementia of our current moment with its charged, nihilistic lyrics and a sonic swell of electronic experimentalism. [Nov 2012, p.92]

[Dalek] have harnessed their noise fetish into a sound that's more sedate, but just as unnerving. [Apr 2007, p.194]

The new album's themes show that Amos is energized with stories to tell once again - making Scarlet's Walk at once ambitious and also one of her most moving collections yet. [Nov 2002]

The album maintains a steady flow that allows melodic ideas and rhythms to melt into one another to create an intoxicating whole. [Feb 2013, p.92]

The sound of growing up has rarely sounded so self-assured. [Aug 2006, p.218]

Taken individually, Damon & Naomi's songs possess distinct personalities.... However, when consumed as a whole, The Earth Is Blue metamorphoses into a thin musical mist. [Apr 2005, p.116]

Alongside Barthel's sweet kiss-off in "Mouthful Of Diamonds," Carter's tortured lead vocals on "You Are The Ocean" keep the rest of Eyelid Movies brimming with palpable sexual tension until the closing credits. There had better be a sequel. [Mar 2010, p.95]

Though slightly dragging and formulaic at times, the melodies and arrangements are strong and memorable, stacking up against Mascis' previous solo releases. [Sep 2014, p.107]

Easy Listening has enough great riffs for Big Star and Cheap Trick to share, with leftovers to spare. [Jun 2003, p.103]

Slug and Ant have no aversion to a killer pop hook. [Sep 2002, p.76]

The results are understated, heartbreaking and quietly intoxicating. [Oct 2003, p.124]

With the exception of a few tracks, Reveal is a remarkably cohesive album of intense beauty and heady wisdom that inspires with its passionate strength. [Jul 2001, p.79]

Unsound falters on ragged tune such as "Sectionals In Mourning" and "Semi-Pseudo-Sort-Of-Plan;" these songs feel far too much like half-finished rehearsal takes that could use some tightening. [Aug 2012, p.92]

Whatever meaning you take from them, however, one thing remains solid--the sheer heart with which they were forged and the very visceral emotion they contain.

Shall Noise Upon is the first album to consistently contain songwriting equivalent to their technical prowess. [Oct 2008, p.152]

Might as well slot this Portland, Oregon, Sextet on Bonnarooo's schedule for the next decade. [Jul 1010, p.122]

There's nothing surprising or too far outside their comfort zone.

Medicine is certainly a cohesive and mature outing, but it isn't nearly as fun as the band's previous shenanigans. [May 2004, p.102]

Psychedelic experimentalists Yeasayer add more beats than last time, but nothing that overpowers Khan's out-there mindset, stunning vocals and obvious talents. [May 2009, p.114]

Their most accessible and uncompromising album.... !!! deftly balance adventurousness with fun--a potent combo that too few bands achieve. [Apr 2007, p.192]

Andy Stack's accompaniments are dynamic, elusive and overflowing with heart. [May 2014, p.94]

If anything, the quality of Stevens' B-sides further validates the folk-hero legacy he's begun. [Sep 2006, p.212]

Krug tests the patience of even the most tolerant listener via a convoluted and self-indulgent mess of music that occasionally--and seemingly accidently--stumbles across moments of brilliance. [Nov 2007, p.163]

Images Du Futur lacks the structural rigor and focused ideas of [Clinic], which prevents the album from having a strong impact. [Apr 2013, p.90]

The quartet gets a little glammy, turn in a fist pumping epic, and achieve Beatles-esque flights of fancy. [Jul 2013, p.104]

Refreshingly retro without being anachronistic, Free Energy burst with unironic sun-flecked highs--it's classic rock from 8-track heaven. [Feb 2010, p.93]

Thankfully, the band, aided by longtime producer Bill Stevenson (Descendents, Black Flag), have once again tapped into that intangible magic that makes them so great, and have delivered a full-on rager with Endgame.

Where [Interpol] often seem weighed down by their own miserable aura, Editors sound brightest in teh depths of their blackened pop gems. [Apr 2006, p.204]

This is strictly a headphone listen--or, more likely, non-listen. [Nov 2010, p.108]

The words are as bleak as ever, and the songs still cut like coal-black shards of anti-pop bitterness. [Apr 2006, p.204]

The upscale bars and clubs of the world will undoubtedly toast these two for The Mirror Conspiracy, and you should, too. [#147, p.110]

All Around doesn't take you anywhere, but it does make where you are a little bit brighter. [Aug 2003, p.105]

The M's understand the value of a smartly delayed compositional payoff. [Mar 2006, p.124]

It's an alarmingly great album in most ways superior to their ballyhooed debut. [Feb 2011, p.86]

Reznor sets his machinery on "kill" and points it toward authority and herd mentality. [Jun 2007, p.158]

Animals is a raucous and hugely entertaining effort that doubles as a virtual "Name That Tune" game. [Nov 2008, p.164]

Even in its darkest moments... [This Too] remains grounded in a beautiful humanity. [Mar 2007, p.136]

As powerful as the music is--and its strength is undeniable, as every muscle practically spasms in reaction to the desperate guttural screams that emanate from singer Jason Butler's mouth and to the violent and complex post-hardcore melodies produced by his four bandmates--as much weight is carried in the erudite, intelligent lyrics and themes that permeate these 14 songs.

The album as a whole is multifaceted and full of variety, but always locked tight into a sound Yukon Blonde have perfected: punchy pop, straight up. [Apr 2012, p.99]

There are traces of the Locust, the other band of vocalist Justin Pearson, but these 12 songs are darker and more dangerous. [Jun 2013, p.98]

The repurposed bits remain inspired, while Sugarhill Gang-style raping, sampled DJ interludes and duck jokes keep things refreshingly light. [May 2014, p.90]

An exercise in simplicity, Free Will’s one critique is at times feeling too simple. Given enough time, though, and a quiet enough room, the beauty in the music comes through strong, and second listens let the lyrics ring truer.

Instant Gratification cements the band's veteran status and solidifies what we've always hoped: Dance Gavin Dance will never die. [May 2015, p.98]

The classic Mould you've sought is (mostly) back. [Mar 2008, p.145]

There's plenty of classic Mogwai downtempo and hypnotic trance, the likes of which will make you reconsider flippantly using the phrase "epic as fuck" again. [Oct 2008, p.160]

Wholly ambitious and mostly successful. [Feb 2003, p.72]

All Night Radio broadcast more personality than [Beachwood Sparks]--and frame it with a maniacal smile. [Apr 2004, p.88]

Free All Angels is punchy guitar pop in extremis, sliding so breathlessly from anthemic chorus to soaring hook that it's hard to believe any band could actually want to have this much fun and sound this important. [Aug 2002, p.69]

Sounds like a holding-its-own companion piece to Quicksand's 1995 swan song Manic Compression. [Nov 2004, p.142]

Largely standard Luna fare: smooth, loungey, literate alt-pop with quirky yet instantly moving melodies. [Apr 2002, p.79]

Though written and recorded quickly, it's hard to imagine how these tracks could have been improved on, as they effortlessly cover a wide musical expanse. [Jan 2008, p.124]

Fans of the Cure's late '80s material will find much to love about No One Can Ever Know. [Mar 2012, p.99]