LFO executes these retro moves with flamboyance and subtlety, so we can forgive Bell his derivativeness. [Nov 2003, p.118]

The record succeeds as its own body of work sans premise, thanks to Valdés' deft keyboards and arrangements (which gives the proceedings hues of '50s hits, '60s soul and breezy Euro-pop) and Argos' patented sincere-or-smarmy delivery (the thing that makes Art Brut so compelling).

Characteristically, Mogwai surrender just enough melodic nuance to sustain superficial interest--without forfeiting the abstractions necessary to save the whole affair from sounding like Enya for art school kids. [Mar 2011, p.96]

Where Starsailor failed at morphing Britpop with orchestral flair, the Veils soar. [Aug 2004, p.118]

A grab bag of great ideas, instead of a truly great album. [Sep 2005, p.170]

The music is--and should be--the primary focus, and that's a quantum leap beyond what they were doing four years ago. Essential.

The results is a rollicking continuation of their previous two albums' unhinged metallic-punk steamroller. [Nov 2012, p.90]

No matter how far they push their boundaries, the songs remain catchy. [Feb 2015, p.91]

Romance may be boring, but this ambitious triumph is anything but. [Feb 2010, p.96]

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.

One of extreme music’s most adventurous bands continues blazing its own path. [Nov 2015, p.97

By creating an homage to youthful, timeless pop-punk--New Found Glory sound revitalized and relevant. [Nov 2011, p.91]

This album aims straight for your hips and doesn't miss. [Dec 2014, p.104]

The Rezillos might be your parents' age, but they rock. [Apr 2014, p.93]

What keeps this from being a cavernous frightfest is what the members of Ulver bring to the table. [Mar 2014, p.94]

The duo's engaging, self-titled debut isn't quite as easy to parse as their moniker. [May 2009, p.123]

Harmonious hymns such as "Bury Your Burdens In the Ground" and "Let's Do Something Impossible" prove that you don't need more than a banjo, an expressive voice and a heartfelt story in order to craft something truly extraordinary. [Aug 2011, p.122]

Girls Against Boys are still together making pwerful music that detonates the soundtracks of the new subcultures and corporate marketing campaigns. [Jun 2002, p.75]

The most accomplished work of Grohl's post-Nirvana career. [Aug 2005, p.174]

By making a record that solely lives up to the standards they've set themselves, Rancid have maintained their dedication to the punk ethos with a resonance that will shine longer than the dozen rewrites of "Ruby Soho" some fans want from them. [Jul 2009, p.121]

Wholly ambitious and mostly successful. [Feb 2003, p.72]

Did we say "hard to resist?" Make that "impossible." [Aug 2006, p.224]

Overall, this collision of dirty loops and polished pop is Information you need. [Dec 2006, p.198]

This disc is more fun than leafing through a schizophrenic's case history and twice as loud--and this reviwer can't wait for the sequel. [Oct 2008, p.158]

Architects somehow increase the ferocity with hit-and-run instrumentation to highlight Sam Carter, the genre's strongest clean vocalist and screamer. [Jun 2016, p.100]

The group's ability to layer long, melodic arcs over squibs of dissonance has never been more surgical or soulful. [May 2011, p.92]

The closest punk has come to the dread of Robert Johnson, the mischief of Bessie Smith or the joy of Mahalia Jackson. [Jun 2003, p.94]

Rather than suffering from the absence of Technicolor mania, Point instead revels in its nuances and depth, emanating a maturity and cohesion that Fantasma lacked. [Feb 2002, p.68]