For an elite cadre of sound warriors, the disc perfectly bridges Slayer's demonic metallic riff majesty with the maniacally convoluted dynamics of French prog-rockers Magma. [Dec 2005, p.216]

For both diehards and neophytes alike, Bad As Me works as Waits' "greatest methods" collection. [Nov 2011, p.98]

Yes, the journey is often challenging, but that's what makes it unforgettable. [Dec 2006, p.190]

The Australian is a poet of common life, her almost-talked, observational tracks turn the mundane profound. [Apr 2015, p.90]

A beautiful, quiet and pensive affair, bristling with subtle electronics and wonderfully layered acoustics. [Nov 2014, p.90]

There hasn't been a song-oriented psychedelic album that's had this sort of life-affirming, full-bodied roar since Mercury Rev's 1993 classic, Boces. [June 2003, p.110]

We're all closer to comprehending, thanks to this absolutely brilliant piece of modern musical art. [Sep 2011, p.116]

Ambitious, grand, emotional and complex, it’s a record that demands the band be seen in a new light.

A bold, uncompromising debut. [Feb 2016, p.100]

Rubies is nothing if not ambitious. [Apr 2006, p.204]

[Jurado] may be our generation's Neil Young. [Apr 2003, p.78]

Vespertine isn't immediately accessible, but after repeat listens, a smoldering heart of emotion and a true pop sensibility reveal themselves. [Oct 2001, p.77]

Every track on Basement is a highlight. [Nov 2004, p.150]

[They] clearly sound alive with the possibility of redefining punk song structure by writing 11-minute flamboyant guitar dirges that have as much in common with My Bloody Valentine as they do with '70s arena rock. [May 2005, p.170]

Only a few slip-ups occur (“Eyelids” wanders for too many minutes), but all in all, it’s a shiny debut from a band we are excited to watch improve.

Ballou has captured the genuine sound of its four members together in a room, less of a monster in your closet and more of a brilliant basement show. [Nov 2012, p.90]

Two masterpieces. [Dec 2004, p.158]

Even though No Devolucion might draw the ire of fans who prefer moshing over meditation, the result is a record that's progressive and, believe it or not, downright beautiful. [May 2011, p.97]

It’s incredible just how good Dreyer is at making you connect with his characters, and how equally good his band are at backing him up.

This is Unwound's Kid A, in that they've turned their back on the rock in favor of something more atmospheric, but even more significantly, they've tossed out all the old recipes and made the future unpredictable. Problem is, they've fixed something that wasn't broken. [Jul 2001, p.85]

Blue Record truly depicts a band at the peak of their powers. [Nov 2009, p.106]

It's the glorious melodies and cavernous, quasi-dub-like production that conspire to make Person Pitch one of the most beguiling, intoxicating releases of 2007 thus far. [May 2007, p.161]

More Scared Of You Than You Are Of Me has its foothold in classic punk and Billy Bragg;s fiery, rambling shout, but is presented in an egalitarian way that any modern punk or emo kid can get behind. [May 2017, p.82]

The Argument is quieter, slinkier and even slower to develop than 1997's tortoise-paced End Hits. [Dec 2001, p.82]

It's the urgency of [Dizzee's] brash Brit patois that dares you not to decipher it. [Jan 2005, p.114]

The songwriting is daring yet tightly focused, catchy yet crushing, but executed with a level of skill that’s an obvious reflection of the band’s greater experience.

Flies In All directions is a pleasing, grand buffet for Weatherbox fans. [Jun 2014, p.108]

While Everything You Ever Loved feels a shade top-heavy, there's little denying how much Make Do And Men have improved their craft over the years. [Jul 2012, p.96]