Reznor sets his machinery on "kill" and points it toward authority and herd mentality. [Jun 2007, p.158]

Animals is a raucous and hugely entertaining effort that doubles as a virtual "Name That Tune" game. [Nov 2008, p.164]

Even in its darkest moments... [This Too] remains grounded in a beautiful humanity. [Mar 2007, p.136]

As powerful as the music is--and its strength is undeniable, as every muscle practically spasms in reaction to the desperate guttural screams that emanate from singer Jason Butler's mouth and to the violent and complex post-hardcore melodies produced by his four bandmates--as much weight is carried in the erudite, intelligent lyrics and themes that permeate these 14 songs.

The album as a whole is multifaceted and full of variety, but always locked tight into a sound Yukon Blonde have perfected: punchy pop, straight up. [Apr 2012, p.99]

There are traces of the Locust, the other band of vocalist Justin Pearson, but these 12 songs are darker and more dangerous. [Jun 2013, p.98]

The repurposed bits remain inspired, while Sugarhill Gang-style raping, sampled DJ interludes and duck jokes keep things refreshingly light. [May 2014, p.90]

An exercise in simplicity, Free Will’s one critique is at times feeling too simple. Given enough time, though, and a quiet enough room, the beauty in the music comes through strong, and second listens let the lyrics ring truer.

Instant Gratification cements the band's veteran status and solidifies what we've always hoped: Dance Gavin Dance will never die. [May 2015, p.98]

The classic Mould you've sought is (mostly) back. [Mar 2008, p.145]

There's plenty of classic Mogwai downtempo and hypnotic trance, the likes of which will make you reconsider flippantly using the phrase "epic as fuck" again. [Oct 2008, p.160]

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

All Night Radio broadcast more personality than [Beachwood Sparks]--and frame it with a maniacal smile. [Apr 2004, p.88]

Free All Angels is punchy guitar pop in extremis, sliding so breathlessly from anthemic chorus to soaring hook that it's hard to believe any band could actually want to have this much fun and sound this important. [Aug 2002, p.69]

Sounds like a holding-its-own companion piece to Quicksand's 1995 swan song Manic Compression. [Nov 2004, p.142]

Largely standard Luna fare: smooth, loungey, literate alt-pop with quirky yet instantly moving melodies. [Apr 2002, p.79]

Though written and recorded quickly, it's hard to imagine how these tracks could have been improved on, as they effortlessly cover a wide musical expanse. [Jan 2008, p.124]

Fans of the Cure's late '80s material will find much to love about No One Can Ever Know. [Mar 2012, p.99]

Although M83's ambitions are often great, there is a problem here: Before The Dawn often drags its feet. [Mar 2005, p.138]

You can hear that rage burning throughout this record’s 11 songs, most notably on “Mourning In Amerika,” “Welcome To The Breakdown” and the untamed aggression of “Bullshit,” on which frontman Tim McIlrath rails against the divisive politics that sadly led us to an orange man in the White House.

The rich--and sometimes gorgeous--glitch-folk of Elephant Eyelash certainly does the trick. [Nov 2005, p.226]

Less production allows the songs to breathe, but while the arrangements are often clever, the melodies aren't all that sticky. [Mar 2014, p.93]

Tunnel Blanket serves as a perfect soundtrack to both the world's turmoil and its imminent collapse. [Jun 2011, p.109]

The saccharine harmonies are still present on the title track; they're just augmented with more expansive arrangements that bring out a welcome new dimension to the band's sound. [Apr 2011, p.114]

The high points find the Men melding their overmodulated past with their new melodic obsessions. The low points render the band mere pretenders to outfits like Guided By Voices and Spoon. [Apr 2013, p.90]

What ultimately makes Similes so wonderful is that with every listen it seems to peel away the world around you, immersing you in its warmth, and for 43 minutes, it makes it so hard to believe that everything that might be wrong in your life actually matters at all.

[It] comes off as another Albarn project that's neither amazing or anathema. [Feb 2007, p.122]

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