Not every song hits the mark, but the Monkeys should be applauded for spreading their wings and not dropping like stones. [Sep 2009, p.100]

There are few hooks to grab the ear or inspire repeat listening. [Apr 2002, p.86]

It's hardly the pop album the liner notes indicate, but it's sweetly spellbinding, slouching toward another corner of the underground. [Mar 2003, p.92]

An exhilarating album... [March 2001, p.88]

Runners in the Nerved World serves as a transitional record for a band who continue to figure out who they are and what they want to be. [Feb 2015, p.92]

Although there;s wnough kicky keyboard-pop to satisfy long-time fans, the darker nuances are a welcome evolution. [Mar 2010, p.98]

One of the brightest and catchy offerings for Sub Pop all year. [Nov 2006, p.188]

'Part 2' is the album's most intense track, 'Part 3' is it's most intriguing. [Sep 2008, p.150]

I Bet On Sky can feel a bit sleepy--although noise-cracked solos and psychedelic-quicksand riffs ultimately keep things lively. [Oct 2012, p.88]

For the most part, the band's jagged guitars and bludgeoning backbeats play by the punk rulebook. [Jul 2006, p.186]

A schizophrenic collision of sound that's so expertly arranged, it still sounds utterly musical. [Nov 2005, p.226]

Exiting Arm is another step forward in the brillant career of a group unafraid to switch it up. [June 2008, p.137]

Thankfully, the electro-bleeped post-punk "All Night Disco Party" and buzz-band piss-take "Heard About Your Band" aren't just dead-on scenester satire; they're damned entertaining too. [Jan 2006, p.142]

Although the circumstances surrounding these songs' creation are undoubtedly tragic, Walker has been able to spin that sorrow into arguably the best material of his career. [Mar 2015, p.91]

It's still familiar emotional portraiture, but these scenes often appear through a high-powered telescope instead of a magnifying glass. [Jun 2014, p.106]

If you’ve shied away from drone music because of its sonic inaction, here’s a good remedy.

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.

Control's exhilarating high points take Pedro's brooding, hesitantly melodic indie rock closer to Ozzfet than they've ever been. [Jul 2002, p.94]

Consistently intriguing, haunting and above all, very good. [Dec 2001, p.94]

More often than not, Amnesiac finds a balance between twiddling and transcendence. [Jul 2001, p.79]

If bastard of ceremonies Nic Offer would shut his piehole, Louden Up Now! would improve 50 percent. [Aug 2004, p.106]

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

While DJ Shadow keeps us hanging for a return to form, Blockhead picks up the slack with a fantastic disc that's solid throughout. [Mar 2010, p.90]

With strata of classical strings, reverbed guitars, epic piano chords and seemingly every piece of Yasunori Takada's drum kit simultaneously being hammered in salutation to the happy medium between tender, childlike phrasing, and grandiose movie soundtrack. [Oct 2012, p.90]

It's already the most riveting album of 2005--provided you're ready to carve a wide enough hole in your consciousness to accept it. [Mar 2005, p.130]

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

It is a more assured and catchier effort and showcases far better songwriting [than its 2011 debut], and though the quality wavers on a few tracks, overall it justifies those who passed on them before taking another look.

More lively and consistent than 2006's "Rabbit Fur Coat," Lewis's second solo disc builds like a whisky buzz. [Nov 2008, p.155]