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

With the track order shuffled entirely, it almost plays like a greatest hits album: Closer examination reveals cohesive new context for the collection, one that's more satisfying than anything we've heard from the trio before. [Mar 2014, p.88]

On paper the choice of Jon Brion, a musician and engineer best known for his work in film seemed perfect, but unfortunately it didn't temper Barnes' misguided vision to be the indie-rock Prince. [Oct 2010, p.116]

Unbelievably catchy hipster synth-rock. [Sep 2004, p.136]

An ambitious record that pays skillful tribute to teachers like Pink Floyd, but shows off its ambition too much. [Nov 2001, p.94]

Home Acres is rooted in stunning energy that tells the tale of a Midwestern dream falling apart. [Apr 2010, p.122]

These Brighton lads are smart and clever, as evidenced by the creative leaps they exhibit on Visions. [Jun 2007, p.148]

Musically, IX is less threatening then previous albums, but that doesn't mean it's any less potent. [Dec 2014, p.104]

Where Starsailor failed at morphing Britpop with orchestral flair, the Veils soar. [Aug 2004, p.118]

Gutter Tactics is another collection on which fans of rap radicals Public Enemy and drone-metal heavies the Melvins can find common ground. [Mar 2009, p.116]

Exotic without ever being self-conscious, dreamy without ever missing the beat, and serious without losing the capacity for serious fun, Black Sun is a rare and heavenly event in the crowded universe of EDM.

The Portland, Oregon, trio trade their micro-fragmented structures for indie-pop opuses drenched in linear tensions on the meticulously crated Mines. [Aug 2010, p150]

Sounds more like Bad Religion than any Bad Religion album has in years. [Mar 2002, p.71]

It sounds like, well, another solid Mission Of Burma record. [Nov 2009, p.110]

Sway is a noticeable sonic upgrade from SSLYBY's previous two albums, which can be somewhat off-putting at first, Still, the progression suits the quartet rather fine. [Sep 2010, p.113]

Arguably his most solid collection of folk-based tunes. [Apr 2005, p.116]

LOG maintain all thise essential elements and more, yet still venture into uncharted territory. [Apr 2009, p.136]

An album as dense and uncompromising as his native New York. [Nov 2003, p.116]

If you read The Wire, you probably already own [Kesto], but if you don't, don't bother. [Jul 2004, p.148]

Takes a step back to the crossroads of the accessible and the head-scratchable. [Oct 2004, p.148]

At once daring and danceable, The New Romance is the best Talking Heads record Bikini Kill never made. [Oct 2003, p.120]

The Montreal group's full-length debut, Some Are Lakes, frustratingly lacks that energy, as well as "Boo's" memorable afterglow. [Nov 2008, p.155]

brakesbrakesbrakes are as eclectic (musically) and clever (lyrically) as ever on their third album. [June 2009, p.98]

Thanks to a vintage church organ, a sizzling saxophone and a little recording expertise, Pickin' Up The Pieces' deceptively analog sound has all the crackle and warmth of the music pouring out of an old AM radio. [[Sep 2010, p.109]

The Human Romance shows an experienced band trying new things and succeeding. [Mar 2011, p.92]

Gimme Some is grounded in a guitar-based directness it seemed PB&J had left behind. [Apr 2011, p.118]

IWABO prove there's some actual technique beneath their gimmickry. [Aug 2011, p.118]

Mountaintops is still well-crafted (if overwrought), but lacks the punch that'll make you sit up and take notice. [Oct 2011, p.109]