Both soothing and exhilarating. [Jan 2002, p.84]

The album creeks through 13 unlucky tracks that range from minimalist, Leonard Cohen-esque piano dirges to demented waltzes with equal aplomb. [Nov 2009, p.109]

With Lions have always gone big, and with Holy Shit, they succeed in being anthemic without sounding overblown. It's a difficult balance to strike, but they've had the time to figure things out.

These are some of the most challenging songs in the band's catalog, yet they're more approachable than ever before. [Aug 2012, p.88]

Chicago's The Atlas Moth have taken definite and deliberate steps to flesh out their wall of sound on album No. 3, accentuating their sludge roots with waves of psychedelic counterpoint. [Jul 2014, p.96]

Tells the story of musicians creating something brilliant and new with the well-worn pieces of their punk-indie-hardcore legacy. [Oct 2003, p.124]

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

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

Seventeen years and eight albums into their career; The Grand Theatre Volume One is a welcomed second wind.

Where "Hexes" reveled in a sludgier sentiment, all the while anchoring Wasif's emotional yearnings, The Voidist opts, for the most part, not to disguise anything. It arrives bare-chested and howling

Full of hopelessness and destructive defiance. [Mar 2004, p.94]

A raging slab of beats and sick samples accruing at a rate that may well cause motion sickness. [Dec 2002, p.86]

With some new explorations entwined, Act IV exhibits all facets of the band's alluring brand (extensive instrumentation, orchestral theatrics and experimental whimsy) in impressive form.

Finds [Chasny] in peak form. [Aug 2006, p.224]

Listening to singers Torquil Campbell and Amuy Millan is like watching two dancers perform an urgent ballet: Their equally lovely voices merge and seperate, always working in unison and sometimes soaring above the other. [Jul 2010, p.127]

Autumn represents Pinback's strongest album to date. [Oct 2007, p.162]

The Irish singer/songwriter demonstrates both his versatility and magnificence by wrapping his voice around 10 delicate but different songs. [Feb 2014, p.92]

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 kind of album that functions as both background BBQ beat and windows-down sing-along. [Jul 2003, p.112]

With Lovebox, they do another about-face, dirtying up and slowing down their song-structured house tracks into a grimy soul/funk/house/hip-hop amalgam. [March 2003, p.94]

If you fancy darkness, BDM have upgraded their harrowing sound to embody the concept completely. Tracks like “Matriarch” will remind you what got you into melodic death metal in the first place, while “Jars” and “As Good As Dead” put the band’s diverse influences on display.

Walks the fine line between indie and lo-fi rock, encompassing the best elements of both genres. [Mar 2006, p.136]

Good Charlotte are multi-platinum scene superstars, but Cardiology might just be their best effort yet. [Nov 2010, p.112

On this disc, which collects tracks from three limited-edition singles and adds a few bonus cuts, the group shows their range even more effectively through carefully (and wisely) chosen covers.

Hymn's soft-loud spectrum stretches uncommonly far, yielding rare rewards at each end. [May 2009, p.114]

They're still delivering more aural discovery and attitude than both their weary, uninspired colleagues and the legion of fumbling neophyte upstarts combined. [Jul 2009, p.130]

"Bring Me Home" showcases a bit more of the band's mid-paced rock sound, very much coming across like when Face To Face try to mix punk and rock, which sometimes works and sometimes falls very short. Millencolin make it work, although when they're punking-out fast and hard (like on the awesome "Sense & Sensibility”), things work even better.

Heaping handfuls of sound are shaped into a dizzying array, landing somewhere between a heavy Queen, even heavier '70s British prog and a more interesting Dream Theater. [Jul 2015, p.96]