Run is a quality listen. [Apr 2015, p.90]

Romantic, modern, vintage, classic, spinning pop illusions while sublimely dancing with the dark arts--there’s a definite “vibe” throughout The Shadow Side and the mainstream would be better for it, should the world surrender themselves to Andy Black’s deceptive embrace.

A beautiful example of what "heart-on-sleeve" music should be. [Nov 2004, p.148]

The results are as thrilling as ever. [Oct 2004, p.140]

Emptiness has rarely sounded so fulfilling. [Sep 2014, p.108]

They can take their time crafting their next move, as they've given us lots to chew on here with this dense, pleasing, and--most importantly--fully enjoyable album.

A smart, slashing set of B-plus-level pop-punk. [Apr 2003, p.78]

Tokyo Police Club retain their enthusiasm with Champ; they just want to show off the new tricks in their pony show. [Jul 1010, p.130]

Stereolab continue to elevate breezy retro pop to luxurious new heights of spac-age swank and bilingual bliss. [Mar 2004, p.94]

Garbage were always futuristic, but this album proves they're still ahead of the curve. {Jun 2012, p.81]

Slowly, Bogart is inching closer to mainstream appeal. [Aug 2013, p.88]

A fine distillation of everything New Order have been. [May 2005, p.176]

Bubblegum comes amid plenty KD material, but with endearing romps like the Nirvana-indebted title track and Criteria-sounding "Somewhere Unoccupied," it might be his best batch yet. [Nov 2013, p.88]

It is a solid, exciting and ambitious album that proves is still a lot of mileage left in the band.

The quartet have delivered some of the most raw and willfully demented rock music to be vomited up in 2017, and Patton's inimitable contributions ensure that the crazy meter remains permanently in the red. [Aug 2017, p.82]

A delightful listen. [Oct 2002, p.79]

Overtly confessional and cathartic, it's no wonder the pair have been held up as one of the main participants in the emo revival. [Sep 2014, p.106]

This is Sleigh Bells at their most adventurous. [Dec 2016, p.102]

This record contains the musings of a full-fledged adult who's still young enough to remember the ache of youthful restlessness, indiscretions and uncertainty. [Nov 2014, p.87]

Mastodon prove they keep moving ahead with this rewarding album. [May 2017, p.80]

The serrated serenades of Object 47 offer all the compact joys of past Wire classics like "154" and "Chairs Missing," but amplified and digitalized for the internet age. [Sep 2008, p.149]

It's moody as hell, with an aching, nameless despair and all the intimacy of a crack-up. [Jan 2005, p.108]

Homme's modern macabre lyricism and experimental, melodic prowess... make this a more complete album that Lullabies. [Jul 2007, p.176]

If alt-country were truly alternative, it might sound more like Lookout Mountain, Lookout Sea, especially on 'What Is Not But Could Be If,' where Silver Jews leader David Berman's booming vocals run as deep as anything this side of Johnny Cash or Leonard Cohen in their prime. [July 2008, p.151]

Lyrically keen and immediately catchy. [Mar 2002, p.84]

Much of We Were Dead feels like a culmination of the sound that Modest Mouse have spent the last decade or so honing. [May 2007, p.145]

Wrap Cracknell's voice around a sweet, soulful confection and she remains the embodiment of all modern pop dreams and desires. [Dec 2000, p.94]

Fan waiting for the true follow-up to 2001's Go Plastic may now warm their souls by the heat of his hard drive. [Jun 2012, p.84]