While Turner's penchant for experimentation is impressive, his ability to juxtapose all of these genres without losing his sense of identity is ultimately what makes England Keep My Bones such a grand success. [Jul 2011, p.108]

Excellent. [Jun 2004, p.111]

Filled with laid-back, intelligent electronica equally suited to dancing and chilling, Production ultimately succeeds through its deft combination of strikingly disparate elements. [#153, p.79]

This set [is] their best yet. Every member's in fine form here. [Nov 2016, p.88]

Damn odd. [Jul 2005, p.186]

While The Campire Headphase sounds slightly defalted compared to [earlier] discs, it stlll has many charms. [Jan 2006, p.144]

The moments of stylistic diversity, as well as the lack of trendhopping (read: no dubstep) makes the continued evolution of Blaqk Audio worth following.

Ageless and deeply affecting. [Jul 2006, p.210]

Practically seamless in execution, the worldly Sound Kapital reaches its peak with the anthemic "Repatriated," an upbeat track ready for dance floors from Brooklyn to Bangkok. [Jul 2011, p.110]

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]

Okereke's voice, whether against an early-90s down-tempo club beat or a rattling guitar, is ever-evolving and worth many listens. [Nov 2014, p.90]

While Fantasy Empire does sound more crisp [recording in a proper studio] as a result, their music hasn't lost its raw energy. [Apr 2015, p.93]

The majority of this disc expertly locates that elusive bull's eye between art and accessibility. [Nov 2009, p.106]

[It] has a charm that transcends your typical noise-splunk band. [Mar 2007, p.145]

Nada Surf's blend of melancholy, anxiety and child-like optimism is fully intact on their first collection of original material in four years. [Feb 2012, p.84]

While many of their contemporaries remain content with the particular style that brought them to the dance, Deftones never feared exploring new avenues to advance their sound; Gore represents their latest evolution.

Where the Postelles excel over Hammond's band is in how sublimely relaxed they sound.

The band may have taken their time, but the finished product more than justifies the wait. [Mar 2014, p.89]

The Rev is still peddling a buoyant mix of rockabilly, surf and cow-punk aimed at covering life's sinful little pleasures. [Apr 2002, p.98]

Not as overtly catchy (or cheesy) as Discovery, Human After All nonetheless is a hilariously cold and mechanical work that makes Kraftwerk sound like Curtis Mayfield. [May 2005, p.138]

The best Shannon And The Clams record to date. [Jun 2013, p.98]

Gone for the most part are the skittering disco-punk rhythms and fully engorged urgency that drove their material. Instead, you have a slower, more methodical approach that lets these pop gems blossom out in thin ribbons.

It may take a few spins to fully appreciate French Kicks' nuances, but those who give them time will be greatly rewarded. [Jul 2002, p.81]

Most of Neighborhood Watch is uncompromising proof that hip-hoppers, like rockers, can move units and still stay true. [May 2004, p.106]

This is a farewell album, but the band are going out at full strength. [Jun 2014, p.104]

A crank-it-up-Friday-night blowout that's pure exuberance. [Apr 2003, p.74]

It's proof that there's plenty of life left in its creators. [Aug 2017, p.83]