Hospital Handshakes is proof that you can get close to hitting rock bottom and still rise up from the ashes with the album of your career. [May 2015, p.102]

When it comes to ferocious riffs and monstrous melodies, few in the punk world can touch Heartsounds right now. [Aug 2011, p.114]

Like Stay What You Are on steroids, it's a half-hour of instant gratification with paeans to overcoming romantic and introspective obstacles. [Oct 2014, p.101]

While the tracks are theoretically similar to the atmospheric vistas of other instrumental units, Jesu's melancholy--accidental or implied--offers a truly unique experience that deserves much more than background-listening status. [Dec 2010, p.114]

There's no denying the quartet know how to work a mighty groove as well as set up atmospheres similar to bands remanded to the faded pages of old record-collecting magazines. [July 2009, p.126]

If Ian Curtis had stuck around for Zoloft and Hot Hot Heat, Joy Division's Closer might've sounded a lot like this album. [Dec 2004, p.158]

When they're on, they're really fucking on. [Dec 2002, p.94]

The band's music is comparable to early Police material that everyone mistook for punk. [Jul 2004, p.146]

Harakiri easily contains the best music released under the vocalist's name. [Aug 2012, p.92]

They do possess the skills to enhance everything they tweak. [May 2006, p.178]

The album as a whole sweeps across a broad range of stylistic tones, maintaining levity while dabbling in comparably serious musical pursuits. [Aug 200, p.146]

When the music these guys create individually is already so great, why would anyone mind having it mixed together? [Oct 2009, p.106]

Gen-Y stoners who'd trade their favorite bong to inhale a hip-hop Pink Floyd, the exchange line starts here. [May 2004, p.108]

Cover albums are usually a contractual cop-out, but the diverse scope and amount of thought put into each track on If I Had A Hi-Fi prevents it from sounding superfluous or self-indulgent. [Jun 2010, p.107]

MOB have managed to preserve their legacy without tarnishing their origins. [Jun 2004, p.92]

The whole thing is over before you know it packing a punch as sweet and warm as a shot of whiskey. [Jan 2005, p.108]

A brave and defiant effort. [May 2017, p.80]

A soulful kitsch-pop pastiche reminiscent of everything from Roxy Music to the Beatles. [Jan 2003, p.100]

Amazing. [Mar 2003, p.92]

The Icarus Line’s sixth album is scarred, clandestine and alluring, much like meeting a stranger who has the capabilities to turn you on--or turn you off, dead.

Hesitant Alien has enough requisite cool and clamor to insure he stays both relevant and remarkably vibrant.

It's full of the old-fashioned care and craft hip-hop has largely forgotten. [May 2007, p.160]

Hurley isn't perfect, but it's the best thing Weezer have done in quite some time, and that's all we can hope for-until the next Nirvana comes along, of course.

A lovely example of how acoustic-based music doesn't need to be limited by its sparse nature. [Oct 2008, p.153]

The album is a kaleidoscopic montage of stitiched-together riffs and motorik propulsion, sometimes sprawling in execution but exhilarating in its reach and reckless abandon. [Jun 2009, p.109]

Crafted with peaks at the beginning, middle and end, Watch Me Fall is the album Jay Reatard made so we can watch him do the opposite. [Sep 2009, p.108]

There is so much more offered in this collection of 11 songs than we’ve seen of Whitechapel previously, making Mark Of The Blade an exciting milestone.

He's aided in this task by Anticon genius Alias, who produced the entire record--his spastic, head-nodding beats are so good, that they occasionally overshadow the headliner. However, that's not due to any lack of talent on Dolan's part, who's on the top of his game throughout the disc.