As adept as the band are at alternating between metalcore and pop-punk, McKinnon’s words are similarly nuanced and multifaceted here.

Each track is different from the last, yet the album maintains a cohesive identity. [Jun 2012, p.76]

It's no Witness, sure, but it's an immensely strong return that shows how viable the band's style and songwriting still are. [Nov 2013, p.88]

The fullest sounding Silver Jews album to date. [Nov 2005, p.210]

One of the better nuanced and layered compositions we're likely to see before 2007 ends. [May 2007, p.152]

While many of their contemporaries remain content with the particular style that brought them to the dance, Deftones never feared exploring new avenues to advance their sound; Gore represents their latest evolution.

Cliff has never needed to reaffirm his place in the reggae pantheon. With Rebirth, he went ahead and did it anyway--and then some.

Youngster is only temporarily satisfying. [June 2008, p.135]

Come for the rock, but stay for Falkous' sarcasm-dripping bon mots. [Jun 2012, p.881]

Fire From The Sky is another compelling addition to their catalog. [Jun 2012, p.84]

It's the beautifully austere, grown-up pop album we've been waiting years for Mac McCaughan to record. [Jun 2003, p.97]

The passion and power generated by Messrs Strummer, Jones, Simonon and Chimes make the proceedings feel like 10 minutes. [Nov 2008, p.170]

Cox projects an otherwordly allure in his atmospheres and melodies that recall My Blood Valentine's recasting of rock as sound that prioritizes erotic texture and swoon-worthy levitation. [Mar 2008, p.140]

While the influences haven't fully melted, the hooks are particularly strong, abetted by a decorator's touch for texture and tone. [Mar 2011, p.99]

Embryonic is an album full of little revolutions--a trippier, noisier, more experimental journey than the Flaming Lips have taken in forever. [Dec 2009, p.116]

Darnielle still ties this album up under a loose theme, but it is a bold, Cinemascope-like vision of social and religious outcasts. [Nov 2012, p.92]

The richly recorded songs spool out with a natural ease. [Nov 2008, p.154]

It's important that albums like Ghost exist--but unfortunately, those albums don't always make the most enjoyable listens. [Aug 2004, p.116]

He's aided in this task by Anticon genius Alias, who produced the entire record--his spastic, head-nodding beats are so good, that they occasionally overshadow the headliner. However, that's not due to any lack of talent on Dolan's part, who's on the top of his game throughout the disc.

Besides boasting some of the band's most violent music to date, what makes The Powerless Rise such a stunning metal record is the band's commitment to vigrously kicking at their boundaries while remaining true to their sound. [Jun 2010, p.104]

Having dabbled with atmospheric black-metal elements in the past, this time out Carnifex incorporates these with more confidence while never compromising their ruthless deathcore principals. [Apr 2014, p.89]

Boston's finest prove that far from having nothing left to say, they're just getting started. [Apr 2011, p.114]

Pierce's vocals and playing reach higher and push farther forward than they did on previous albums. [Apr 2012, p.98]

It's proof the evil genius remains a damned fine chef. [Feb 2005, p.94]

The tone grows shrill by album's end, but occasional bursts of accessible production help alleviate that shortcoming. [Oct 2002, p.84]

Full of the most intense guitar rock to come out of L.A. since Jane's Addiction's Nothing's Shocking. [Jun 2004, p.104]

Grooves with uptight downtown funk that's not just for beat freaks. [May 2002, p.88]

The Coral blow through genres like Top 40 radio does flavors of the week. [Apr 2003, p.74]