This is the most imaginative and urgent FNM have sounded in years--not to mention the most relevant. [Jun 2015, p.96]

It's a refreshing turn from a band who easily churned out more of the same to little complaint. [Jun 2011, p.109]

While this may sound like an Oprah Book Club selection, it's Sims entertaining flow and producer Lazerbeak's ability to switch between dancefloor packers ("Weight") and worldly drum-circle loops ("Future Shock") which takes Bad Time Zoo through the ceiling.

Motion City Soundtrack have made the best album of their career and easily one of the best albums of 2010 or any other year. [Feb 2010, p.91]

Whether it's moving, restrained numbers or jarring, chilling bursts of intensity, it's a hellish journey with heavenly execution. [Jul 2015, p.97]

Hold Time exists not simply as a vehicle for the rehash of rock 'n' roll blueprints, but as the highway on which to drive home his acute pop-rock songwriting. Mar 2009, p.107]

The allure is, as ever, the trio's use of the stereo field, and their ability to pump some breathing room into these otherwise sticky and humid tunes. [Dec 2015, p.106]

Gorky's emotional punch is as heavy as it ever was--despite the bells and whistles. [Jan 2002, p.84]

Occasionally he resembles a Pakistani Bryan Ferry. Is this a good thing? It is if you like Pakistani Bryan Ferrys. [#155, p.70]

Not only have Steel Train Shed the jam-band tag with their third, self-titled full-length, they've also finally lived up to their own musical potential. [Aug 2010, p.152]

Joyce Manor successfully break through the quintessential sound of both pop and punk to beautifully curate a 10-track album that is a little weird, unabashedly intimate and all too relatable. [Nov 2016, p.90]

His most accessible and easiest listen yet. [Apr 2016, p.98]

Unfortunately, many of the tunes wear out their welcome, overextending a single inspired idea. [Apr 2004, p.88]

The project is pretty perfect, really.... Give Up ultimately becomes a beautiful lesson in how to dance life's pain away. [Mar 2003, p.100]

Arguably the best record of Leo's career. [Feb 2005, p.84]

Awash with sweet bass grooves, tasteful psychedelic guitar action and the occasional Indian tone, the album nonetheless maintains a mostly melancholy quality. [Nov 2008, p.162]

The honest emotion, varying dynamics and avoidance of cliche up the record's potency, leaving you with the sense that this is how metalcore should make you feel. [Apr 2014, p.89]

Ambitious but understated, intelligent but immediate, Pedestrian Verse is simultaneously heartbreaking and life affirming--and anything but pedestrian. [Mar 2013, p.90]

On One of Us Is the Killer, everybody is firing on all cylinders and DEP sound just as urgent as ever. [Jun 2013, p.94]

What We All Come To Need finds Pelican mastering their post-metal craft while indulging the ambitious curiousities that hinted at on 2007's "City Of Echoes."

If you're looking for a little warm blood pumping through the veins of your dance music, as opposed to the droning and repetitive beat sketches plaguing a lot of the genre, this is just about ideal. [May 2008, p.146]

With stunning soloing by guitarists Mike Spreitzer and Jeff Kendrick further enlivening the proceedings, this is really is state-of-the-art metal designed to destroy everything unfortunate enough to be in its path. [March 2011, p.93]

Frustrated longtime followers will love that the XX-chromosome half of the brother-sister duo plays it mostly straightforward on her totally charming, engagingly breezy solo debut. [Aug 2011, p.114]

Oddly, they sound more now in 2002 than they ever have. [Dec 2002, p.96]

A cohesive, 100-percent successful record. [Oct 2002, p.95]

A welcome return to form in which [Corgan] plays rock music not out of obligation, but out of celebration. [March 2003, p.83]

Rarely have they sounded more comfortable with themselves. [Oct 2003, p.116]

Delivers huge hooks, metronomic riffs and driving drumbeats, all of which enhance the Kadanes' amplified whispers. [Aug 2004, p.108]