The triumphant streak continues with Southern Air, an album on par with 2003's beloved Ocean Avenue. [Sep 2012, p.93]

"You outgrew the sum of your parts," he raps at one point; that line describes the mature and masterful The Family Sign, as well. [May 2011, p.92]

The sound is just as expected: sweaty, sexy and leaner than a Thanksgiving turkey. [May 2002, p.94]

The Raveonettes are suddenly noisier than old-school Sonic Youth and every bit as menacing as the Velevt Underground circa '68. [Mar 2008, p.145]

The Messenger delivers. [Mar 2013, p.92]

The music is as ambitious as the plot, but more coherent. [May 2009, p.116]

The nine songs ooze out with floating bits of atmospherics and noise appearing and receding in the murk while hypnotizing listeners via insistent synth and drum loops. [May 2013, p.88]

Much like the bubbly permutations of recent Mouse on Mars discs, the four pieces on Sign feature over an hour's worth of rapturous electronic textures. [Mar 2002, p.90]

It's roots music that hums and rattles, hearing the dissonant sound of America singing and finding beauty in the collision of opposites. [Apr 2003, p.73]

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

Seattle's Mt. St. Helen's Vietnam Band make a dramatic leap forward on this meditative follow-up to their eponymous 2009 debut. [Sep 2010, p.112]

It'll take a while to sink its clawed into you, but once it does, it won't let go. [Mar 2013, p.88]

Everything here is so enjoyable that it really doesn't matter that the man who helped give birth to the whole lo-fi movement has embraced a certain level of maturity. [March 2001, p.76]

For fans of hook-laden music, the album's a must. [Mar 2011, p.99]

The band are writing songs still riddled with emotional turmoil, but they seem more jaded and contemplative. [Nov 2014, p.100]

It's an alarmingly great album in most ways superior to their ballyhooed debut. [Feb 2011, p.86]

Dense soundscapes that seemingly start in progress and stretch invisibly, yet infinitely, in all directions. [Apr 2005, p.118]

Bright Lights is a super-serious record that demostrates some super-serious song craft. [May 2008, p.130]

When they do attempt to play things straight, it hits the mark with impressive accuracy, commanding your attention--and a few of your most limber-limbed dance moves. [Feb 2011, p.87]

Narcotic, hypnotic and quietly cerebral, it's more satisfying and less elusive. [Jul 2003, p.112]

Hip-hop is only a fragment of Jmaie T's DIY grenade, and the messy hybrid of punk, rap, and reggae on Panic prevention makes Skinner's grime gleam. [Oct 2007, p.172]

I Blame You is where they make good on that promise, delivering a record as electrifying as their live show. [May 2009, p.122]

Palmer captures the human condition like no other artist. {Oct 2012, p.90]

Powerful riffs and jangly choruses propel everything in between. [Mar 2012, p.94]

Outside has a knack for taking these slow-building verses toward delayed rewards--by the time you reach the marrow of a tune, it's already the best Tapes 'N Tapes song you've ever heard. [Feb 2011, p.90]

Ebullient songs like "Dream About The Future" and "Told You Once" have the choruses to give ELO fans "Back to the Future" chills, but they should also make any pop lover an instant Apples adherent, too. [May 2010, p.102]

While some of the songs from 2008's "This Is Not The World" seem encumbered by big production, the 11 tracks on The Chaos sound more rough and immediate, allowing the band's natural energy to come through naturally. [Jul 2010, p.126]

Boston's finest prove that far from having nothing left to say, they're just getting started. [Apr 2011, p.114]