Infinity Overhead's smorgasbord of sounds should please every level of Minus The Bear fan.

¡Uno! does what Green Day have always done best: play loud, fast, catchy-as-fuck punk rock that results in near-endless replay value.

It's as dreamy as Mercury Rev have ever sounded. [Oct 2008, p.161]

'Bells of Creation (Machete Mix)' confirms they're not budging from their patented brans of symphonic rock....It's a sizzling cauldron of rock magic, grand in sound and scope. The other songs aren't quite as compelling. [Dec 2008, p.146]

Not only does Fite sing more than speak-rap, he doesn't push oddity so hard. [Apr 2012, p.92]

Venus Doom is such a refreshing return to an organic, guitar driven sound unheard since 2003's "Love Metal." [Nov 2007, p.170]

Okereke's voice, whether against an early-90s down-tempo club beat or a rattling guitar, is ever-evolving and worth many listens. [Nov 2014, p.90]

The band are probably a little too ambitious for their own good, but kudos to them for not holding back.

These offerings feel uncharacteristically flat. [Apr 3015, p.92]

Nicolay serves it up hot, no matter what musical milieu is on the menu. [Feb 2009, p.106]

There are way too many cooks in this kitchen. [May 2011, p.91]

Hot Cakes, the band's surprisingly strong third album, certainly reaffirms their glammy cred. [Sep 2012, p.88]

The Rev is still peddling a buoyant mix of rockabilly, surf and cow-punk aimed at covering life's sinful little pleasures. [Apr 2002, p.98]

Everlast hints at a hip-hop amalgam of Johnny Cash and Howlin' Wolf, but only when being chased. [Jan 2001, p.88]

With a decided mature edge over the Canadian twins [Tegan And Sara], vocalist/guitarist Kate Cooper and drummer/vocalist Damon Cox have reached their first pinnacle on their second album. [June 2011, p.106]

It's the type of record you rock before bedtime, and that by no means is an insult. [Jul 2007, p.184]

The majority of the tracks are watered down reminders of their indie big brothers. [Jul 2011, p.107]

Bruiser is at its best when its tempos are insistent. [Apr 2011, p.114]

Shogun's assembly and architecture is devoid of the lively attack and emotional elan necessary to make this a true entry into the pantheon of heavy-metal long-players. [Nov 2008, p.158]

Where the Postelles excel over Hammond's band is in how sublimely relaxed they sound.

The Dream Walker tempers its aggression with songwriting nuance and emotional clarity.

These sparse, haunting pieces evoke that bedroom-bound-genius mystique many songwriters futilely try to attain. [Sep 2002, p.84]

Although a less consistent effort as a whole, Time Bomb is a lot more fun than its predecessor and suggests capacity for songcraft not evident on the band's debut. [#154, p.66]

A gorgeous and welcome display of growth... [#155, p.68]

Although there's no shortage of menace and mystery on her goth and dark wave-inspired full-length, these uneasy, creeped-out feelings seep into the unconsciousness only after repeated listens. [Jan 2016, p.95]

Will make you thankful your stereo has an easily accessible off button. [May 2005, p.136]

Throw in lowered expectations and a few fine fellows, and Surfing becomes genuinely fun and ebullient effort, a toss-off that neither toss nor off. [Feb 2009, p.103]

Via Audio thrill at taking risks, succeeding throughout the album's 12 tracks. [Mar 2010, p.98]

The band only falter on Fuss' slower, boring numbers, which consistently lack the zest and vibrancy of their uptempo counterparts. [Jul 2004, p.146]

A surprisingly substantial collection of lyric-heavy, humbly grandiose barroom-rock storytelling... [Jul 2001, p.63]

Unfortunately, the songs still suffer from the same downfalls as their previous material; the album lives in the safe middle ground between Shadows Fall and Underoath. [May 2011, p.96]

Cruel World's glitchy electronic sound, reminiscent of his solo work on Anticon, sometimes makes it hard to tell there's a band involved. [Aug 2011, p.122]

While melodic skull-kickers like "In Person" will hook fans of the band's later work. It's when Hamilton overreaches--a cover of the Beatles' "And Your Bird Can Sing" and the string-driven "LA Water"--that things take a turn for the weird, but mercifully, the schizophrenia is short-lived. [Oct 2010, p.113]

For some reason, the Stooges decided to get moody on a trio of acoustic-based tracks, letting their singer respond by going into full on crooner mode. That sort of twaddle may fly on Pop's solo records, but when they go up against the slinky, deep pocket grooves of the rest of the album, the songs feel pale and hollow.

Some excessive ballads aside, Simple Plan's second disc all but perfects the one before it. [Dec 2004, p.141]

[Dalley] repeatedly dilutes Leave Your Name with empty atmospheric exercises in barely-there vocals and shimmery keys. [Feb 2004, p.80]

After the wet noodle that was 2011's Mine Is Yours, California indie purveyors Cold War Kids come back al dente on Dear Miss Lonelyhearts. [May 2013, p.84]

The band flex all their muscles from a decade-plus of experience without hesitation and, more importantly, without overdoing it. [Jan 2008, p.129]

The result is a beautiful collection of understated, orchestral roots rock that will enrapture both NPR and Pitchfork devotees. [Apr 2008, p.153]

Skaters work best when they're not being too aggressive, letting the songs breathe while pushing the melodies out. [Mar 2014, p.94]

Outside has a knack for taking these slow-building verses toward delayed rewards--by the time you reach the marrow of a tune, it's already the best Tapes 'N Tapes song you've ever heard. [Feb 2011, p.90]

Most of [the remixers] subtly tweak the originals into charming facsimiles of Beck's clap-happy, orchestral folk-blues funk ditties. [Mar 2006, p.138]

Some may quibble with the sparse nature of the album; but it feels like a natural destination in Fink's songwriting travels. [Nov 2009, p.109]

The "ordinary" stories about a new marriage after the shine wears off aren't as dramatic as a broken heart or life-threatening illness, but they're no less real and gradually embed themselves in the listener's mind. [Nov 2011, p.93]

"Gonna Be Free" is a solid tune, but not strong enough to save Circle from mediocrity. [Aug 2012, p.88]

Mo Beauty becomes difficult to wade through as Ounsworth ventures further from his indie-rock roots. [Nov 2009, p.114]

The jarring stylistic shifts sometimes make listening to RNR feel more like scanning the radio dial than listening to a CD. [Jan 2004, p.106]

The rest of the album is similarly focused on animated, inventive electronica which cherry-picks from minimal techno, early synth-pop, moody new wave and Animal Collective-like rhythmic collages. [Dec 2012, p.94]

The results are as thrilling as ever. [Oct 2004, p.140]

It seems that when you mix superstar indie-ites, everything is increased exponentially. [Dec 2006, p.190]

It's a fun album, full of off-kilter, electro-tinged grooves. Trouble is, backpacker/conscious/positive hip-hop is every bit as cliched as the most unthinking gangsta rap. [Apr 2008, p.163]

Had these songs been released a decade ago, they'd be a sensation. Today? Nah. [Jun 2014, p.105]

My Brother's Ears/My Sister's Eyes is warm, engaged and driven by subtle, but forceful, optimism.

Where, say, Franz Ferdinand can fill dance floors with a jagged, arty sense of danger, the Bravery are more vanilla in their approach (read: They're Duran Duran). [May 2005, p.132]

The band takes a few sucessful detours on Chase This Light, but by and large, it's more of the same. [Nov 2007, p.172]

The biggest failure of This Is PiL, sadly, is the band's centerpiece: Lydon. As fine as he can be (see again "Deeper Water"), he sounds downright unhinged. Not in the puckish, sinister way that made PiL live albums so bracing, either-no, his work here sounds tossed off, and too often just plain off.

The record is sophisticated. [Jun 2012, p.78]

Pole's organic, vibrant music suggests he's busted out of his creative doldrums with gusto. [Aug 2003, p.110]

He's brought classical melodic sophistication and beauty to this recording while retaining the post-punk edginess Gang Of Four disciples love. [Jul 2004, p.148]

They make OMD sound like Joy Division. [Aug 2004, p.124]

Rain Machine is an introspective album that rings more of Malone's earlier influences than of boundary pushing inventiveness--but that's not a bad thing.

Hopelessly happy, Grouplove should be required listening in seemingly hopeless times. [Oct 2011, p.107]

AFI bassist Hunter Burgan and My Chemical Romance touring drummer Jarrod Alexander lend their talent making for a textured record that combines Skiba's trademark dark-tiged punk sensibilities with an electronic edge inspired by '80s new wave. [Jun 2012, p.83]

Azure Ray have traveled even further down into the next level of the dreamscape. [Oct 2012, p.84]

There’s a hearty dose of nostalgia here, but in the end, it feels less like a retread and more like a continuation--and a celebration--of the good old days.

Long Live The King, by comparison, sounds distinctly like a cutting-room-floor exercise--a collection of outtakes left behind not in the name of aesthetic cohesion, but simply because the group had better songs more deserving of release.

Despite some missteps, Icky Blossoms would fit on a playlist between Archie Bronson Outfit and Bloc Party. [Aug 2012, p.90]

Curiously akin to Violent Femmes, the trio are precussively sparse, defiantly devoid of distortion and occasionally potty-mouthed. [Jul 2010, p.122]

When Red Bedroom ditches the choppy guitar riffs... the results are as much of a buzzkill to Bedroom's jumpin' vibe as cops busting up a raging house party. [Aug 2004, p.116]

It doesn't quite have the emotional snap their debut so admirably possessed, but the musicians have an apparent precision of craft. [Jan 2008, p.125]

They’re ultimately relatable and endearing enough, even though the most jaded of listeners will still roll their eyes at the smarmy nostalgia (“Too Young To Feel This Old”) and new-era YOLO sentimentality.

Pleasant as the diversity is, the finished products are what you'd get from any modern tribute album. [Sep 2012, p.94]

At times, the album gets a little precious, but the more inspired moments are truly undeniable. [Jun 2007, p.156]

The second full-length from the New Zealand duo is pulled almost entirely from the second season of their HBO series, but little is lost in translation. [Nov 2009, p.109]

The Mars Volta have created the first great record of 2008. [Mar 2008, p.145]

Even if Banks sticks to the "I've got two secrets but I only told you one" songwriting approach, hopefully a band shakeup will spark the soulfulness only occasionally heard in his contributions. [Oct 2010, p.118]

Unlike on Say Anything, though, DuPree-Bemis' presence this time around feels less shoehorned in, helping contribute to a loose, lively, fun record.

He further hones his flamboyant jazz chops while elevating his melodic and rocking abilties to new heights. [Jan 2008, p.131]

It's clear that Paws can have fun while stopping short of their exterior goofiness. [Nov 2012, p.92]

It all combines for an enjoyable listen... provided you block out the lyrics. [#146, p.102]

An emotive, evocative, electrifying mystery. [July 2002, p.88]

Phantom Planet are shooting for something a bit less sunny here than their last outing. [Mar 2004, p.106]

A dense, diverse, and sometimes dauntingly complex double CD. [Dec 2001, p.78]

How many times can rock return in one year? [Jul 2003, p.122]

Idlewild undeniably sound like a once-great band helplessly slipping into their confusing middle years. [Sep 2005, p.164]

'Always Do' is the pinnacle of this record's minimal momentum; it's a leisurely stroll past the mediocrity of te album's second half (with the exception of the bluesy cadence 'Hair Don't Grow'). [Nov 2008, p.151]

Much of the material begs for memorable melodies, perhaps a bit of a rave-up or divergent musical moment would have helped. [Jun 2009, p.103]

Octahedron will appeal to elderly prog fans immune to attention deficit disorder, who have the patience to let its charm gradually unfold. [Aug 2009, p.111]

There's nothing that leaps out as brilliant, just like there's not a single example of the band trying something genuinely risky and new, and falling on their collective face.

Though fast and dynamic, it's just not exciting in the way it should be, and it's impossible to shake the feeling that something is missing. [Jul 2013, p.96]

It's not bad, but it is slightly disappointing. [Jul 2013, p.102]

SMM proves that Jourgensen still breathes fire. But this time, he's incinerating you with a grin on his face. [May 2016, p.82]

The result is a heavy batch of driving tunes worthy of each member's origin stories. [Feb 2017, p.80]

This long-awaited unveiling isn’t the easiest of listens, with consistently busy-sounding fare ranging from the manic, laser show hyperactive (“We’d Kill Each Other,” “I Need A Parasite”) all the way to slower and sultry new romantic nods (“Springtime Of Our New Love,” which could actually pass for the ’80s uncle to Glassjaw’s “Ape Dos Mil”). But it is definitely fun, and absolutely well-done.

At their best, the churning rhythms, swirling synth and vocals suggest Animal Collective digging through a crate of DFA Records. [Mar 2014, p.94]

Despite its relative palatability, compared with their earlier work, this is a hard album to like--and that's what makes it good. [Jan 2003, p.102]

These four songs fulfill expectations for minimalist, rhythm-based deconstructions of genre. [Feb 2010, p.93]

There’s something special about the lyrical content that proves relatable yet poignant and beautiful all at the same time, resonating with listeners through the band’s unique ability to take basic, everyday ideas and turn them into an imaginative work of art.