Embraced by trance, breakbeat, and house DJs alike, Maas has been heard in almost every sort of dance setting, so he's earned the right to his own compilation. [2/2001, p.85]

Just as Metallica introduced a generation to Misfits with their 1997 covers EP, Garage Days Re-Revisited, Danzig pays similarly enthusiastic homage to his influences on Skeletons. [Jan 2016, p.94]

It's no Witness, sure, but it's an immensely strong return that shows how viable the band's style and songwriting still are. [Nov 2013, p.88]

The group put enough spin on the source material to make these songs their own. [Nov 2015, p.97]

It's certainly a leap further into the ethereal weirdness that defined 2004's shoegaze- and electronics-inspired Panopticon. [Nov 2006, p.192]

Worsnop may be gone, but the rage channeled into The Black has helped the group lift themselves back onto their feet, showing they are more than capable of carrying on without him.

The record is sophisticated. [Jun 2012, p.78]

Xiu Xiu nail their nebulous mix of new wave and post-punk gloom, but also lace their tunes with uncompromising experimentation and emotion. [Apr 2004, p.88]

Remember's strength is in its time-warp atmosphere. [Sep 2006, p.228]

Knives Don't Have Your Back is like the soundtrack to an excellent Alfred Hitchcock film. [Oct 2006, p.200]

He's brought classical melodic sophistication and beauty to this recording while retaining the post-punk edginess Gang Of Four disciples love. [Jul 2004, p.148]

A menacingly sweet and sweetly menacing set of electro pop. [June 2003, p.109]

One bedroom is vaguely European, warmly mechanical and just off-kilter enough to be consistently interesting. [Feb 2003, p.74]

Mostly, the band have improved their songcraft and melodies, as evident in the positively infectious album highlight "Bad Blood." [Apr 2010, p.122]

Givers have created a debut that will surely set them atop the indie-rock world, if not only for their strict adherence to trying everything possible and succeeding gloriously at it all.

All the broad-shouldered indie pop and big city folk we've come to expect, but so meticulously refined and consistently pleasing that its crossover ploys seem forgivable. [Sep 2004, p.124]

10 tracks of alien grooves, percolating beats and shimmering atmospheres that are engaging, sophisticated, and mature. [#146, p.101]

Sounds more like Bad Religion than any Bad Religion album has in years. [Mar 2002, p.71]

Though parts of the album veer a bit too close to the synthetic hippie pabulum you hear upon entering the Nature Store, there's enough dark charm on Espers II to make it essential listeing for those of us who prefer our CDs caked with actual resin. [Jul 2006, p.208]

It’s just the right balance of heavy and light tones, a mixture that Barnett & Co. continue to perfect throughout the whole album.

There's no obvious attempt at chasing a single or brass ring, just improvements on a sound the group have been trading in for more than a decade--and upgrades that might very well have resulted in their best album to date. [May 2015, p.95]

It's a magnificent accomplishment, the sound of one long night spent waiting for someone, but never being certain if you want them to arrive. [Apr 2003, p.87]

While The Menace isn't as coruscating as Primal Scream's funk-noise plasma wall, Exterminator, it does offer enough twists, turns and fractured sensibilities to make listening to music an active experience again. [#146, p.88]

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

Cinder proffers the majestic sweep of a nature documentary. [Nov 2005, p.208]

Another Sound Is Dying, despite the title connotation, is indeed giving birth to a stirring new noise. [Apr 2008, p.156]

Seven's Travels ultimately nods to the mainstream as much as to the underground. [Nov 2003, p.116]

Easily ranks among their best. [Oct 2002, p.83]