With this completely progressive and mature effort, it's clear that Barnes is one of indie rock's most gifted songwriters. [Feb 2007, p.115]

It's a snarling, agile beast with some posi moments along the way. [Aug 2012, p.90]

There’s no question Common Courtesy will at least partially satisfy eager fans, because if nothing else, it’s a textbook A Day To Remember record. Whether or not that’s good or bad is entirely up to you.

Hospital Handshakes is proof that you can get close to hitting rock bottom and still rise up from the ashes with the album of your career. [May 2015, p.102]

Transit Blues marks both Prada's sixth full-length album and an impressive step forward. [Nov 2016, p.87]

None of these songs reach that lofty level [of Paul McCartney, Brian Wilson and Randy Newman], but fans of inward-looking popsmiths like Elliott Smith and Daniel Johnston (whose artwork gets a subtle nod through the graphics) will find some gentle little gems in this police department lost-and-found.

Offend Maggie continues Deerhoof's winning streak and displays a band running at peak performance. [Nov 2008, p.154]

If you're prone to enjoying the epic recall in rock, All Is Dream will be your momentary ticket outta here. [Oct 2001, p.82]

What emerges by the halfway point of the title track is the sense that you're not listening to just another piano troubadour; you're hearing the oceanic confessions of an artist who in time will be considered one of the most affecting composers of this still young century. [Apr 2009, p.134]

While it's hard to recommend Nobody Wants To Be Here And Nobody Wants To Leave outside of an environment of solitudinous nighttime drives (don't expect to hear this kickstart any parties), it's a deeply encompassing and occasionally profound experience that deserves to be felt by far more than the few lucky to already be inside the Twilight Sad's too-small circle.

Nears indie-pop perfection. [Feb 2003, p.70]

Ultimately Rev proves that a hard-driving beat and a searing six-string are timeless pleasures. [Feb 2014, p.94]

While the other material is good, these moments are great. [Sep 2014, p.104]

The big hooks are fewer and further between, but the meat in the middle is where the real magic lies.

Generally speaking, though, White Silence finds Cave In at the heaviest point of their career since 1998's Until Your Heart Stops--and easily at their noisiest and most experimental.

Conjures images of an organic commune in an alternate galaxy. [Jun 2005, p.164]

As is the case whenever [Kurt] Wagner's velvet croon wraps itself around a night that ends so late it's already morning... there really isn't a critic in the world who can touch him. [combined review of both discs; Mar 2003, p.94]

Amid the highlife guitars and percussion that give Sea a delightful Afro-pop sheen... it's impossible to ignore the creeping conventionalism of the disc's best tracks. [Jun 2006, p.178]

Mirror Traffic will neither win nor lose converts. [Sep 2011, p.112]

Moody music that avoids settling on any one sound for more than half a song. [Feb 2004, p.78]

The best comparison for April is Neil Young. [June 2008, p.131]

Bassist Jeff Matz and double-kickdrum killer Des Kensel flank Pike at every turn. The album-opening title track establishes a menacing, mathematical momentum, and the trio never falter.

The whole thing is over before you know it packing a punch as sweet and warm as a shot of whiskey. [Jan 2005, p.108]

American Slang is no disappointment--these are expertly written songs by a band who continue to learn who they are and what they play as time goes on. [Jul 2010, p.121]

Lyrically keen and immediately catchy. [Mar 2002, p.84]

RJD2 possesses the rare ability to transform moldy samples into fresh-as-tomorrow compositions. [Jun 2004, p.110]

They're taking an experimental risk that pays off well. [Dec 2016, p.102]

The Sunlandic Twins feels like a surprise party that could make a broken-hearted birthday boy smile. [May 2005, p.124]