Molina & Johnson's treasures are there, as long as you listen closely. [Jan 2010, p.95]

The band come up with hooks aplenty, delivering anti-pop gold on the guaranteed-to-disappoint-no-one Expo 86. [Aug 2010, p.156]

A snow globe of an album that's sparkling, brilliant and only held back by gravity. [Aug 2004, p.106]

Dangers' music remains remarkably fresh and adventurous. [June 2002, p.80]

P.O.S. has raised the bar again. [Mar 2009, p.114]

Xerxes debut LP is a solid take on the burgeoning Pg.99/Modern Life Is War hybrid. [Apr 2012, p.99]

They are definitely good enough to keep fans of modern heavy music pleased with the genre's continued vitality. [Aug 2013, p.83]

As the title suggests, REAL. is the genuine article.

Though highly polished, nothing comes across as cynical or contrived, and Mikey Chapman’s delivery has never been more heartfelt.

The Cribs manage to keep enough of their edge while dishing out another pile of consistently great pop songs. [Dec 2009, p.112]

Some of the band's most gut-wrenching and powerful melodies to date. [Mar 2007, p.133]

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

Their last release, Meanderthal, was one of the finest records of 2008, and the eight-track Songs For Singles makes a glorious follow-up. [Oct 2010, p.116]

Rot Gut, Domestic's melodies are still strong, but Edward's world-weary tenor to the bedeviled characters and prickly distortion, anxiety rules. [Apr 2012, p.96]

Golem works best when Wand finds a way to split the difference via proto-prog face peelers like "Cave In" or the Hawkwind-like "Planet Golem" where the sweet and acrid combine to make something particularly intoxicating. [Apr 2015, p.94]

Dianogah's hypnotic grooves and continuous dynamic shifts make Millions of Brazilians ideal background music for hipster housecleaning. [July 2002, p.78]

The real strength of The Inevitable Past Is The Future Forgotten is the album's inherent variance--and the fact that droning waltzes like "Days Of Wrath" are able to seamlessly co-exist with ambient experiments like "The Threshold" make the album sound like a complete musical statement instead of a genre exercise.

Too much of Human Hearts feels like a retread of what they've already done on previous LPs. [Apr 2011, p.115]

With Wreck, established fans have great reason to maintain their faith, while newbies may well have just found their new favorite band.

Though they change direction with almost every track, Doomriders maintain an ominous and almost sleazy air throughout, and by the time it's done you just might feel like you need a shower. [Nov 2013, p.88]

The Physical World is a triumphant statement that the two musicians have moved forward artistically. [Oct 2014, p.97]

At times, it lacks focus, but this is still a perfect soundtrack for lonely nights at home with your demons. [Jun 2015, p.98]

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]

Braid have delivered a record as nuanced, vitalizing and brilliant as anything in their already storied back catalog, reemerging as strong as any of the numerous bands that have popped up to critical notice in their wake.

Hymn's soft-loud spectrum stretches uncommonly far, yielding rare rewards at each end. [May 2009, p.114]

Where "Hexes" reveled in a sludgier sentiment, all the while anchoring Wasif's emotional yearnings, The Voidist opts, for the most part, not to disguise anything. It arrives bare-chested and howling

Fans of extreme metal will find Unearth's latest release a tad too light, but anyone who likes metal in their 'core should go completely bat-shit over this album.

With so much fertile ground to cultivate, though, Wolves Like Us seem less like copycats and more like proud bearers of a new tradition. [Oct 2011, p.112]