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

This is a band with no bullshit, no frills--just consistent, hardworking musicians putting out music that continues to push the boundaries of what the possibilities of punk can be.

Their [Daniel Blumberg and Neil Hagerty's] collaboration resulted in an album that requires close attention to find the golden details hidden in its crevices. [Aug 2013, p.88]

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

From the snarling romp of "USA" to the loping crawl of "new Low" or the rockabilly-tinged stomp of "Alive Or Dead", MC Rut are riveting, the rawness of their performance drenched in the pints of sweat they undoubtedly shed at every show. [Nov 2010, p.116]

Take Them On... repeats the San Francisco trio's bombast, peppered with slower tunes styled after Jesus And Mary Chain's dewy psychedelia, the Verve's noise-drenched moments and even Ride's droning perfection. [Oct 2003, p.134]

The Maine have written another impressive album, proving once again they're a damn good rock band. [Jul 2013, p.100]

While it doesn't flow with the breathless ingenuity of their earlier albums, it's still a cut above 90 percent of today's electronica. [#147, p.109]

Sixteen-tear-old vocalist Lydia Night isn't afraid to speak her mind, and the members of the Regrettes match her gritty vocal delivery and feminist sentiments with raucous rock 'n' roll guitars coated with buzzy noise and distortion. [Feb 2017, p.80]

Sure, sometimes the angst gets too angsty and a couple songs feel a bit like throwaways, but this is a great, memorable and oftentimes moving release from someone who sounds like she has about 20 years and 10 albums more experience than she does.

The New Orleans duo have crafted another epic album--this time, though, it's a more organic affair. [Feb 2009, p.107]

As the follow-up to 1997's III, Effector succintly incorporates that disc's pristine sheen and futuristic atmospherics, while moving into more quirky, funk-laden territory. [12/2000, p.94]

The duo's strength is their songwriting skills, which are being honed to a razor's edge here. [#153, p.84]

A well-rounded album that might be mewithoutYou’s best.

Home Of The Strange adds back their debut’s indie charm, then catapults Sameer Gadhia’s sensational vocals to the front. Keeping those levels in check allows the band to effortlessly explore ambient electronics (“Amerika”), dance numbers (“Silvertongue”) and every other curiosity along the way.

Sounds like a holding-its-own companion piece to Quicksand's 1995 swan song Manic Compression. [Nov 2004, p.142]

Often dark, but strangely triumphant. [Oct 2013, p.92]

Chasing Ghosts won't win any awards for originality, but this is definitive victory for smart songwriting,, heart, and passion. [Oct 2012, p.84]

Their most accomplished and least anxious record yet. [Nov 2006, p.182]

The good news is that in their quest not to make fly-away pop, Air have unearthed a bizarre and dark sense of humor that allows them to subvert and celebrate their new gloomier chops. [Jul 2001, p.59]

Angles ends up being one of the group's more compelling efforts, rather than the casualty of experimentation it could have been.

Every song sounds like background music in an art-house film. [Apr 2006, p.207]

Rather Ripped is the sound of a band no longer setting their distortion pedals on stun, and, as a result, the best songs are as low-key as a small town on Sunday morning. [Aug 2006, p.218]

Anyone with an appreciation for smartass MCs and a little of Fender-tapping would do well to give TSOL a spin. [Nov 2010, p.116]

Past Lives seem poised to avoid various aesthetic dead-ends and the subcultures that foment said traps. It's a trend for listeners to get behind. [Mar 2010, p.94]

At times some reining in might have been desirable, but 11 albums in, it’s hard to argue Opeth have earned the right to do whatever the hell they want.

Their songs are categorically contagious and surprisingly smart. [Sep 2005, p.164]

His low-riding G-Funk has morphed into a faster, catchier brand of soul that's often a dead ringer for early Prince. [Jun 2006, p.192]