Emptiness has rarely sounded so fulfilling. [Sep 2014, p.108]

Interlude continues where 'Water' left off, exuding a pall of melancholy that translates into heartbreaking beauty. [#153, p.85]

Much like the bubbly permutations of recent Mouse on Mars discs, the four pieces on Sign feature over an hour's worth of rapturous electronic textures. [Mar 2002, p.90]

He's created a bona-fide pop album--smokingly soulful, sure, but armed to the teeth with hooks and refrains, radio-ready and simultaneously transcendent. [#147, p.84]

A disheveled collection.... Westerberg's muse seems to switch on and off, from inspired to bored. [Jun 2002, p.90]

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]

Mount Eerie would be a gorgeous record even if the vision behind it didn't fall somewhere between Biblical allegory and Greek myth, but the drama makes it all the more stunning. [Feb 2003, p.70]

A delightful listen. [Oct 2002, p.79]

MC Rut are riveting, the rawness and intensity of their performance drenched in the pints of sweat they undoubtedly shed at every show.[Nov 2010, p.116]

Madina Lake's return to the scene is reason enough to celebrate, it's just icing on the cake they've delivered their strongest album to date. [Sep 2011, p.107]

Polymers Are Forever makes the noblest of gestures-confusing the hell out of people who love their culture served to them on a stick while getting their fans psyched for a proper full-length early next year.

They’re obviously still working out the kinks that come with stepping out of one’s comfort zone, but all in all Let The Ocean Take Me is an encouraging signpost that sees the Amity Affliction slowly tearing up the blueprint that drove their early works.

No surprises really to be found here, but that's not what you're here for: You stick with the band for their assured songwriting and richly rendered freakouts. [May 2015, p.96]

The quartet have delivered some of the most raw and willfully demented rock music to be vomited up in 2017, and Patton's inimitable contributions ensure that the crazy meter remains permanently in the red. [Aug 2017, p.82]

Woods is the best record EBTG never made, a new peak for Thorn in a career full of heights. [May 2007, p.162]

The pristine third album from UK rhythm junkies Foals is a study in contrasts. [Mar 2013, p.8]

Fantastic. Yesterday is a breath of fresh air for hip hop. [Feb 2009, p.107]

Open Season takes debonair glam flourishes--screaming strings, slow-building lounge-act dramatics--and contrasts them with edgy riffs and subtle hooks. [May 2005, p.172]

Farrar backs up his good intentions with an album's worth of strong material. [Apr 2013, p.90]

The arrangements are busier, but Morgan's the key to holding it together. [Aug 2012, p.90]

Adams often finds himself revisiting his past glories on Easy Tiger. [Jul 2007, p.178]

Intensely bizarre cartoon music. [May 2005, p.178]

Occasionally, Roderick gets in the way of himself and makes the proceedings more difficult than they should be. [Sep 2006, p.214]

It's ultimately Costa's expressive, bluesy vocals that set her apart from other singers and make Something such a promising debut. [Jul 2001, p.63]

The band have gelled into Pollard's best yet, and it's their brief forays into prog-rock complexity that make the record stand out within the GBV catalog. [Jul 2002, p.82]

The music on Selmasongs brings Bjork's penchant for haunting melodies, cinematic imagery and ambient percussion fully to bear.... Though composed for a film, the music is 100-percent Bjork and may well be her best work yet. [12/2000, p.91]

Costello clutters many fine compositions with kitchen-sink arrangements and cacophonous production that bring into focus how sorely missed estranged Attractions bassist Bruce Thomas is throughout. [Jun 2002, p.75]

Ever wonder what an all-star band featuring Burt Bacharach, Jethro Tull, Black Sabbath and Pink Floyd would sound like stoned on the final reel of 2001: A Space Odyssey? [May 2006, p.172]