[A] thrilling trip to the sold-out stadiums of inner space. [Jun 2006, p.190]

Listening to Portishead has always been like floating through a waking dream, but now the sleek edges have atrophied into a dusty chaos, and it's all the more beautiful and perfect for the change. [June 2008, p.136]

However modern our world, Fischerspooner continues to give us a reason to listen. [Jun 2009, p.111]

Segall's laconic vocals and playing style ties everything together and maintains a blunted brilliance throughout. [Sep 2013, p.92]

Thrillingly adventurous and tuneful, if occasionally indulgent. [Mar 2013, p.90]

These clattering seat-inducers plow through both rational song lengths and all hopes of a settling conclusion. [Oct 2009, p.110]

When You're Through Thinking, Say Yes sounds like less of a comeback and more of a homecoming. [Apr 2011, p.113]

At times beautiful, at times shambling. [Jun 2006, p.194]

The Cave Singers find a way to remove the corniness from a jammy folk album, instead building Naomi with honest lyrics and a soothing ramble of guitars. [Apr 2013, p.86]

Blunderbuss has a special casualness to it, thanks to White surrounding himself with a coterie of Nashville locals able to take him where he wants to go. The destination in question may very well be back to the early '70s, where country- and blues-tinged crossover records captivated America's post-Vietnam psyche.

Has the abrupt, spasmodic intensity of an epileptic seizure. [June 2003, p.94]

With brief nods to Black Sabbath and slower Slayer, Sever rolls 40 years of metal and hard rock into a big joint and smokes it all. [Mar 2011, p.92]

It's an alluring listen. [May 2013, p.88]

Fucked Up's pop sensibilities remain impressively omnipresent, validating the hype. [Jul 2011, p.107]

Sparhawk and Parker's boy/girl vocals, Low's overall light instrumentation, and their minimalist approach to compostition all blend to produce an exquisite lethargy that's as haunting as Damon & Naomi's music. [#153, p.78]

Business as usual: Swervedriver create beautiful noise without breaking a sweat. [Apr 2015, p.94]

Admittedly, it takes a few listens for Save Rock And Roll to click, and some songs (“Alone Together,” “Miss Missing You”) are notably weaker than others. But overall, Save Rock And Roll is a blast of an album.

Kaiser Chiefs melt their influences into something entirely non-derivative--and thoroughly fun. [May 2005, p.172]

It’s a big, shiny, shamelessly indulgent affair played by talented musicians, and when it comes down to it, it’s just a lot of fun.

A bona-fide motherfucker of a stoner jam. [May 2006, p.170]

While World is simply a fun pop record at its core, the effort, time and most importantly, experience (gleaned both from the members' extracurricular projects and the near-decade they've been together) that went into its making clearly sets AAR apart from newer bands who keep attempting to capture this same sound with much less ambition.

The Empyrean ultimately proves that if things don't work out with his main gig, Frusciante as a healthy, slap bass-free career ahead. [Apr 2009, p.140]

Tears On Tape doesn't reinvent the wheel, but within HIM's impressive canon, it's among their best. [May 2013, p.90]

RJD2 possesses the rare ability to transform moldy samples into fresh-as-tomorrow compositions. [Jun 2004, p.110]

The Front Bottoms will soundtrack your life until it's like you've never been without them. [Jun 2013, p.96]

The New York quartet have outdone it with Lenses Alien. [Oct 2011, p.106]

Despite the variety and many obvious influences... the Greenhornes leave their own unique fingerprint on every song. [Feb 2006, p.126]

Dave Hause is a self-proclaimed "rock guy," and he has carefully crafted Devour to remind you of such. [Nov 2013, p.86]