On Habitual Leviathans, the group are more powerful than ever: but it’s a confident power that requires minimal chest thumping.

The tunes are as melancholy rosey as ever, the confessional as soul-stirringly honest and open. [#147, p.83]

Instead of burying their influences in a wall of sound on If Anything, Greys bring them right out into the open. [Jul 2014, p.98]

The only twang on the record is the sound of strings breaking as Jack attacks his guitar. [Sep 2001, p.104]

The album is a devilishly fun listen when he's behaving liked a genius on the attack [Sep 2010, p.116]

Alternately pounding and pining, it's "faceless techno" at its very best. [Sep 2002, p.96]

These songs are silly without being cloying. [May 2005, p.134]

Frontman Tom Dougall offers guitar distensions, pedal abuse and disaffected vocals, while synth op Alejandra Diez is called upon to deliver gorgeous melodies and sinister noise. [Oct 2012, p. 92]

Sinister and atmospheric, the band have raised the intensity since their last release. [March 2003, p.86]

The disc's bread and butter is Auf Der Maur's smoking riffs. [Jun 2004, p.106]

Sounds like the updated fourth side of Built To Spill's Perfect From Now On. [Nov 2004, p.142]

With strata of classical strings, reverbed guitars, epic piano chords and seemingly every piece of Yasunori Takada's drum kit simultaneously being hammered in salutation to the happy medium between tender, childlike phrasing, and grandiose movie soundtrack. [Oct 2012, p.90]

The moodiest moments are what ultimately make this album Phantom Planet's best. [May 2008, p.140]

While the band might sound particularly confident on Killing Time, this attitude never turns into cockiness. [Mar 2011, p.91]

The Raveonettes sound creatively liberated. [May 2005, p.174]

The Head And The Heart do pretty much everything right on Let's Be Still. [Nov 2013, p.88]

After the doom and gloom of 2012's Gossamer, Kindred sees Angelakos walking back into the light. [May 2015, p.100]

They might be moonlighting, but they've officially stepped out of Black Mountain's shadow. [Sep 2009, p.105]

Vespertine isn't immediately accessible, but after repeat listens, a smoldering heart of emotion and a true pop sensibility reveal themselves. [Oct 2001, p.77]

The vicious "We're Not Good People" stuns with a pulsing, near-metal urgency that will lead you to act on your darkest urges - prior to playing the album again. And if you're not stupid, you will. [Sept 2012, p.88]

Limitless might not be the album their fans all completely agree on, but it does mark a maturing band. [Mar 2016, p.96]

It's lovely stuff. [Feb 2014, p.90]

Meticulously orchestrated by frontman Conrad Keely, Tao Of The Dead hits a full-on prog rock pose with seemless transitions, classical movement structures and lunar background flourishes scraping the Dark Side Of The Moon. [Mar 2011, p.92]

A batch of lazy mid-afternoon pop songs that only sound better when his friends from Wilco show up to sing along. [Apr 2004, p.86]

We Don't Even Live Here explores the dementia of our current moment with its charged, nihilistic lyrics and a sonic swell of electronic experimentalism. [Nov 2012, p.92]

While devotees of Funeral... will surely enjoy Neon Bible, the album does have a decidedly different feel than its predecessor--mainly, there seems to be less of an emphasis on choruses. [Apr 2007, p.182]

Avery's overall strengths are his lyrics and his delivery, where each song tells a story that you simply can't wait to hear. [Apr 2017, p.80]

These shifting dynamics increase the record's overall potency, and while it makes an abrasive mark on first exposure, it grows more and more absorbing with each successive listen, making Black Breath one of premier heavy bands to be watching in 2012.