If vocal distortion is to indie rock what the vocoder is to commercial pop, then Pleasure Forever's Alter is Sub Pop's answer to Cher's "Believe." [Jun 2003, p.97]

Better than anyone could have predicted. [Sep 2003, p.112]

The only thing missing is Gibbard's unique voice--well, that, and the solid songwriting that made the Postal Service's Give Up a classic, rather than just a pleasant listen. [Mar 2005, p.122]

The New Orleans duo have crafted another epic album--this time, though, it's a more organic affair. [Feb 2009, p.107]

The band focuses on their strengths while proving they're still evolving and moving forward. [Oct 2010, p.114]

The underwhelming title cut underscores the superiority of the first four Black Kids songs, but their transition from MySpace to major label is an overall success. [Sep 2008, p.162]

They decided that they could completely renovate their brand and rely on their fanbase to follow; lucky for them, it’s working. It’s a new era, and the 1975 are taking you with them.

The real pleasure here is hearing what Jack White can do when he's away from the confines of the White Stripes. [Jul 2006, p.202]

The 79-minute runtime will undoubtedly turn some casual listeners off, but those patient enough to stick it out until the end are in for the Used’s most soul-wrenching, creatively daring effort to date.

A scappy but lovable collection of power pop. [Oct 2008, p.152]

Finds the outfit in fine form, but it seems unlikely that the casual fan will fully appreciate what Everett has done with his songs here. [Apr 2006, p.214]

Enter Shikari prove that they have something substantial to say and a creative way of saying it.

Romance may be boring, but this ambitious triumph is anything but. [Feb 2010, p.96]

Practically seamless in execution, the worldly Sound Kapital reaches its peak with the anthemic "Repatriated," an upbeat track ready for dance floors from Brooklyn to Bangkok. [Jul 2011, p.110]

Frontman Colin Newman's pointed lyrics can be gloriously dry and the measured melodies of the songs are fine. [May 2015, p.102]

It is perhaps three songs too long, but A Wasteland companion is, nonetheless, a welcome return to form. [May 2012, p.85]

The result is Gogol Bordello's best album in their 14-year career. [Aug 2013, p.94]

A romantic, self-referential collection of songs that, even though we've heard this inimitable voice singing the same old tune for years, manages to avoid staleness. [May 2006, p.174]

As ever, Martsch prove capable of anthropomorphizing a bent string and imbuing it with more emotion than many bands' vocals and lyrics. [Dec 2009, p.112]

Art Brut Vs. Satan is compelling for three crucial reasons. First: Black Francis--a guy who knows something about charging guitar rock--produced the sessions. Second: The guitar subterfuge of Jasper Future and Ian Catskilkin, drive home these songs with a renewed enthusiasm. Lastly: Frontman Eddie Argos' sing-speak ruminations are inspired once again. [Jun 2009, p.108]

On Song In The Air, they rock harder than ever. [Jun 2003, p.96]

Deliciously out of touch, Ladybug Transistor are sly, simpering and irresistible. [Nov 2003, p.99]

Alternately pounding and pining, it's "faceless techno" at its very best. [Sep 2002, p.96]

Murder By Death have created their most dramatic and symphonic work to date. [Oct 2012, p.90]

The record’s high peak, “Upstate Blues,” displays more Kinsella influence (this time Owls) in its jazzy bursts. But the clever wordplay is all Weiss.

Bigger production values and more group playing than her previous piano/vocal introspection. Haines delivers urgency and depth without having to shear off her throat lining, and can convey vulnerability and uncertainty with a brave face. [Oct 2017, p.81]

The Mountain brings a new rhythm section to town--a rejuvenating transfusion for the band--and Appalachian banjo and high-art violin swirls. [May 2009, p.121]

Murder By Death are tentatively stepping outside their comfort zone, abetted by a new member who already seems to have made them more dynamic and adventurous. [Mar 2015, p.90]