It all makes for a remarkable, incredibly moving piece of work. [Sep 2014, p.106]

Like their kindred spirits and labelmates in Turing Machine, Maserati have their headspace programmed to "liftoff" in an effort to take you higher than you've ever been. [Nov 2012, p.90]

Back To Land whispers intimately and hauntingly of both paranoia and peace. [Dec 2013, p.102]

Not only does the album overflow with stick-in-your-head hooks, but it also boasts contemporary production, from sleek digital programming to airy synthesizers, to go along with more traditional band-based instrumentation.

Eyes & Nines melts faces entirely on its own merit. [Jul 2010, p.130]

It's category-defying: raw and cooked, muscular and cerebral, shifting gears in seconds flat. [Apr 2003, p.70]

Another ostensibly strong album in Joyce Manor's catalog, and one that hopefully doesn't go unfairly overshadowed as well.

Give this three plays and it'll stay imbedded in your autumn playlist. [Nov 2013, p.90]

Shows signs of nuance and restraint--relatively speaking. [Oct 2006, p.214]

While A Chance may not move Matmos any closer to either the song or sound distinction, perhaps the fact that their music consistently provokes smiles and dark thought with increasing accessibility warrants our continued, if not increased, attention... [#154, p.76]

Panic! At The Disco have completely hung up their steampunk wardrobes to deliver one of the year’s finest modern-pop works.

Wires is the type of disc that takes you on a journey--an example of how brilliant instrumental music can be when done right. [Oct 2007, p.172]

As perfect pop goes, the Januaries hit all the right exotic buttons. Their songs bubble with Stereolab's bop-ba-bop melodies, glide effortlessly on Saint Etienne's dance-savvy '60s pop, and float on Air's variety-show timelessness. [12/2000, p.99]

One of the most bizarre things ever released by Sub Pop. [#154, p.80]

Arguably the best record of Leo's career. [Feb 2005, p.84]

On One of Us Is the Killer, everybody is firing on all cylinders and DEP sound just as urgent as ever. [Jun 2013, p.94]

The new album's themes show that Amos is energized with stories to tell once again - making Scarlet's Walk at once ambitious and also one of her most moving collections yet. [Nov 2002]

Better partiers than preachers, these Peas have found their pod. [Sep 2003, p.118]

The Mighty Underdogs are like the Westside Connection of the indie-rap world--maybe a little less threatening, but just as bangin'. [Nov 2008, p.164]

Don't worry about it being a chore; after devouring the album in its entirety almost a dozen times, we're still craving more. [May 2009, p.120]

The repurposed bits remain inspired, while Sugarhill Gang-style raping, sampled DJ interludes and duck jokes keep things refreshingly light. [May 2014, p.90]

All [their] cleverness works better than ever before. [Oct 2004, p.142]

The fullest sounding Silver Jews album to date. [Nov 2005, p.210]

It's anything but a lo-fi vanity project. [Mar 2006, p.138]

Maturity beat[s] out playfulness. [May 2006, p.162]

Soul Punk is a brave, bold statement on which Stump asserts his individuality. [Aug 2011, p.111]

You'll blare Valuables on the car radio one moment, then throw it through headphones for study time later. [Jan 2017, p.83]

This is a musical beast, in every sense. [Nov 2012, p.86]