Off! is ferocious and unforgiving. [Jun 2012, p.76]

The Afterman: Descension almost manages to stand alone, but because of one key element, it doesn't. The lyrics aren't literal or married to a narrative--the theme explored through metaphor. [Mar 2013, p.87]

Your best bet is to just let go and enjoy this long, schizophrenic ride through his candy-colored, drug-addled musical subconscious. [Dec 2014, p.107]

These eight songs are as strangely catchy as they are desperate. [Feb 2004, p.92]

The first De La Soul full-length lacking a consistent vibe throughout... [#147, p.81]

Riotously catchy pop songs that fall somewhere between boisterous pub anthems and artsy bursts of haphazard punk. [Jun 2006, p.190]

Close To The Glass resembles ice-skate carvings on a frozen lake: jagged, cold but filled with fractured, ambient beauty. [Mar 2014, p.93]

Business as usual: Swervedriver create beautiful noise without breaking a sweat. [Apr 2015, p.94]

A lovely example of how acoustic-based music doesn't need to be limited by its sparse nature. [Oct 2008, p.153]

True North is an engaging return to form. [Feb 2013, p.88]

This go-around, it reads vulnerable, and while we’ll never know how autobiographical the record may be, its universal appeal is undeniable.

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]

Moves from intense free jazz to gamelan to Boredoms-like (Ger)manic trance rock to fusionoid Tortoise-style meanderings-as played by psilocybin-gobbling aliens. [Feb 2004, p.93]

An album of mature pop that's more good-humored than its moping, acoustic-over-electronic arrangements let on. [Aug 2001, p.86]

It's the skillful meshing of Benjamin Gibbard's part-stream-of-consciousness, part-confessional vocals with melancholy piano and achingly melodic guitars that reveal a fleshed-out Cutie are indeed a band of uncommon beauty. [Dec 2001, p.79]

Lateralus could have been released four years ago, for all the sonic progression that's contained (or not contained) within its 79 minutes. [Jul 2001, p.57]

A smart and occasionally gorgeous country-fried rock effort. [Mar 2002, p.77]

Dense soundscapes that seemingly start in progress and stretch invisibly, yet infinitely, in all directions. [Apr 2005, p.118]

Revelations is Muse's best work yet primarily because of the fluid balance it keeps between excess and restraint. [Aug 2006, p.220]

The most sophistcated punk-pop you'll ever hear. [Mar 2007, p.136]

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

Fans of TBR will undoubtedly love this record as much as the last. [Aug 2012, p.91]

The duo's strong suit has always been songwriting, and this still comes through on Heartthrob. [Feb 2013, p.93]

Broadway calls wield a melodic, snotty jubilance that recalls Nimrod-era Green Day--filling an oddly vacant niche for present-day pop-punk. [Mar 2013, p.88]

The songs don’t have the immediate impact of the band’s heavier work, but it’s nice to see The Sword break from their mold.

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

City is a rare thing: a disc that reconciles a band's need for discovery with the familiar characteristics that define them. [Jun 2006, p.171]

There's more energy on Um, Uh Oh than in Say Hi's entire back catalog, creating wonderful tension with the songs' downcast sentiments. [Feb 2011, p.89]