Whether your tastes veer toward the Dillinger Escape Plan or John Zorn, Carboniferous is what your soul's been craving. [Mar 2009, p.109]

The Beasties prove they've still got what it takes to rock the house -- Hot Sauce was definitely worth the wait.

The Furries' songs have alwyas been strong enough to succeed without shock treatment, and these antics' absence means the addictive melodies of these classic, mostly straightforward pop and glam jams will just hit your bloodstream even quicker. [Sep 2003, p.104]

They deliver a collection of moving songs unified by skillful, understated songwriting, and a warmer, more organic tone than its predecessor, 2009's winning Chasing Hamburg. [Oct 2011, p.110]

While James Murphy's production skills are missing this time, the songs themselves are still strong. [Feb 2013, p.90]

Vetiver have previously been a little too left-of-center for any huge acclaim, but with Tight Knit, expect the blogosphere to light up. [mar 2009, p.107]

Even the psychedelic overreach shows a most uncommon artist at work. [Feb 2003, p.64]

Rain Machine is an introspective album that rings more of Malone's earlier influences than of boundary pushing inventiveness--but that's not a bad thing.

Warm, lush soundtracks bathe the ears in the same bittersweet symphonics that marked out the latter-day Verve. [#146, p. 82]

In the end, Antiphon feels like it should be enjoyed in one piece, preferably wearing headphones. [Dec 2013, p.98]

There's plenty of classic Mogwai downtempo and hypnotic trance, the likes of which will make you reconsider flippantly using the phrase "epic as fuck" again. [Oct 2008, p.160]

Show Your Bones is the sort of second album that, rather than being a sophomore slump, makes you anxiously wonder what albums three, four and five will sound like. [May 2006, p.176]

A gorgeous set of spectral, ambitious and carefully crafted songs. [Jun 2006, p.188]

Oxford Collapse cruise effortlessly from shoegazey dream pop to classic college rock to Schilitz-soaked Americana. [Sep 2008, p.150]

Although short of a masterpiece, (a)spera is Mirah's most satisfying start-to-finish disc since her 2001 solo breakthrough. [Apr 2009, p.135]

When Bayside's Anthony Raneri pops up on "Texas Mickey," it's just the cherry on top of yet another consistently great Silverstein record. [May 2011, p.96]

The army of noise behind his bitterness is at once massive and impressive. [Jul 2003, p.117]

A marked improvement over their eponymous debut, North sounds like Muse and the Stone Roses on steroids. [Jan 2005, p.113]

While the band's last album, Amber, showed the beginnings of something great, Amber, while not perfect, has actual moments of brilliance. [Mar 2006, p.134]

In simplest terms, this is emotional catharsis put to pop music. And it sounds fucking great. [Jun 2006, p.174]

He abetteed by vibrant backdrops full of guitar-driven samples, which push the disc closer to rock than hip-hop and keep the energy high. [Aug 2009, p.106]

The sequencing on Lost Songs is top-loaded with furious rockers that gradually dial down velocity and acceleration toward atmospheres familiar, anthemic and delicate as Conrad Keely's ragged-from-shouting vocal style continues to command attention. [Nov 2012, p.86]

As much fun as a desperado can have without going on a tri-state crime spree. [Oct 2006, p.214]

Pretty awesome, seriously. [Apr 2008, p.153]

While the album is rooted in chiming and growling guitar licks, the dense layers of each song are revealed only through multiple listens. [Jul 2001, p.66]

Amazing. [Jan 2004, p.108]

It's the little touches that make Daydream so appealing. [Nov 2006, p.190]

The pair of albums don't feel at all like a gimmick, but more like a labor of love that gives each of frontman Will Sheff's characters the appropriate amount of time to shine. [Oct 2008, p.152]