Anxiety's songwriting is top-notch--substantial and precise, without sacrificing accessibility or originality. [Apr 2012, p.96]

It's tough to find fault with such an inspired collection, but some moments aren't quite as standout as others.

AAL not only continue to cut through genre restrictions, but do so while considering song and structure. [Dec 2016, p.100]

Wolfgang Amadeus Phoenix is an absolute blast, rich in ringing guitar and euphoric synths but thankfully light on fromage and staid rehashes. [Jul 2009, p.130]

It's a unique psychedelic experience only the most headstrong will be able to handle. [Aug 2004, p.122]

This band may be close to two decades and seven albums in, but in these here Parts, Every Time I Die are coming out of the box like airborne wolverines lunging for the world’s carotid arteries.

Songs like "16.12" are so captivating, you'll barely notice they're over 10 minutes long. [Dec 2004, p.162]

It might not be Disintegration, but Optica confirms these Swedes as worthy acolytes. [Mar 2013, p.93]

It's the band--and Sturgis--who make Slave To The Game the most impressive album to date from the most underrated band in deathcore. [May 2012, p.72]

With Safeways Here We Come, Chixdiggit! have released a record akin to Superchunk's Majesty Shredding; a band who never quite broke up seemingly come back from the dead with not only some of their strongest material to date, but also some of the strongest that the genre has seen.

They... seem to be getting better at distilling their myriad of influences into dreamy, quietly elusive four-minute pop songs. [Jun 2006, p.178]

Light years beyond any current dance-punk act. [Apr 2006, p.203]

They might be unusually eclectic, but these songs, full of Kasher's trademark incisive insight, are a compelling addition to his ever-increasing catalog. [Nov 2013, p.90]

Sometimes it's pretty unpleasant, but it's the rawness that makes it so genuine. [May 2007, p.162]

With Red Of Tooth And Claw they've finally realized the full potential they've been hinting toward all those years--and like all great stories, it's not always pretty. [Apr 2008, p.158]

It's all about perfect guitar tones, what frontman Rick Froberg doesn't say and the space Obits give their songs to breathe--even though it's evident it's not for lack of technical ability. [Apr 2011, p.115]

A sweetass blaxploitation-film score in waiting. [Dec 2001, p.87]

It's all so accomplished, it somehow comes across as weirdly uplifting. [May 2012, p.77]

The Danish duo of Sune Rose Wagner and Sharin Foo begin their fourth full-length, In And Out Of Control, with a satisfying "Bang!" and never slow, even through the darkest of subject matter

Deftly balancing country, classical and cabaret, the National are darkly dramatic and deliciously doomed. [Oct 2003, p.124]

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

An engaging disc. [Mar 2005, p.122]

Davies' tone has the ironic air of a cockney calypso, while the music anchors his musings in familiar surroundings. [Mar 2006, p.88]

He comes closer to rediscovering the excitement, ethereal looseness and raucous twang that epotomizes his first three efforts than he has any time in the past 15 years. [Jul 2010, p.123]

One of the most honest albums we've heard in quite some time.

Once you assimilate to his timbre, the earworm hooks and easygoing drive of Giant Orange will be a welcome salve to the wounded spirit. [Mar 2012, p.94]

Bardo Pond have become equally adept at making hearts and heads ache. [#155, p.68]

Asleep is just enigmatic enough to avoid plagiarism. [Mar 2002, p.77]