It means "Everything You Think You Know," "Smoking Kills," and "Day Man," while not bad, do feel slightly generic, which unfortunately diminishes the power of these well-intentioned, heart pounding songs. [Oct 2014, p.98]

If there's a downside to the rumbly growl emerging from the twisted minds of Chicago's Bloodiest, it's the sextet's unwillingness to push tempos beyond a snarling, hammer-slams-nail, mid-paced plod. However, when a gold-standard knuckle-dusting that’s part Swans churn, part Neurosis’ tribal stomp with Unsane’s propulsive groove is employed, does a lack of temporal variety matter? Probably not. [Feb 2016, p.102]

Gossip succeeds in delivering an inspirational array of tracks that, as a whole, are a natural progression (and successful foray) into the mainstream.

Only odd detours like a Russian oompah instrumental break the rhythm of the album; Rouen is an otherwise textured and engaging disc. [Nov 2005, p.222]

So authentic, you'll think songs like "Bad Dream Mama" were put to tape 25 years ago. [Jun 2004, p.108]

Cohesive and engaging throughout, this is the sound of a band at their most fearless. [Nov 2012, p.92]

For anyone familiar with these progenitors of glam punk, 'Cause I Sez So won't surprise. [Jul 2009, p.130]

This is unapologetic alternative rock with a rainy day, late-night drive twist. [Mar 2017, p.80]

Reflection supplants rage on “The Witness Trees,” while “Song #3” is a heartfelt, hook-heavy paean to love’s salvation that’s among Stone Sour’s most pop-savvy moments. ... [frontman Corey Taylor] still spits out words heated enough to melt earbuds on ragers including the near-thrash kiss-off “Somebody Stole My Eyes” and the aptly, awesomely titled “Whiplash Pants.”

Overall, the songs are well-written and daring. Some tracks are more successful than others (”Where Did It Go?” and “Vultures” are standouts), but it is an altogether engaging listen.

Volume Two, as its title announces, succeeds Volume One's charming, old-timey sensibility, relying again in Deschanel's sweet croon to augment the already inviting tracks. [Apr 2010, p.130]

What emerges here isn't the new techno folk or even world music for the e-universe, but a rare portrait of technology with a human face. [Mar 2002, p.78]

Kid Loco's production style stresses the band's shimmering guitars and rich harmonies. [June 2002, p.82]

This heart-cleansing vulnerability renders much of Final Straw's latter half monotonous. [May 2004, p.96]

You'd be hard pressed to find a more confessional album released this year. [Dec 2003, p.142]

It may not have the continuity or cohesive potency of a Document #8 or City Of Caterpillar, but it's a pleasant rage like few others coming out and, when necessary, clearly shouts what it wants to be heard.

This album is pure joy to listen to. [Mar 2011, p.96]

[A] charmingly naive and magnificent record. [Feb 2011, p.86]

Bewitching from front to back. [Jul 2006, p.192]

On their 13th studio effort, the Skull Defekts have evolved into an actual rock band. [May 2014, p.94]

Central Market could prove to some that contemporary classical music can be more epic than post-rock, more dangerous than metal, and have more to say than the most verbose MC-even if most of his songs don't have any words.

Finally, Coheed have made an album worthy of repeat listens, rather than a monster you skim through to hit the interesting parts. [Nov 2005, p.218]

The music on The Indian Tower is relentless. [Mar 2006, p.130]

Longtime Black Lips fans will notice a more polished production compared to past albums, but it also seems apparent that these boys have barely begun to scratch the surface when it comes to showing us what they've made of. [Nov 2007, p.170]

This self-titled is a true beauty. [Jan 2013, p.84]

Sounds like the updated fourth side of Built To Spill's Perfect From Now On. [Nov 2004, p.142]

Amazingly enough, only a few tunes drag or fade into the background--a testament to how strong (and focused) the songwriting is on Submarine. [Jun 2011, p.111]

It's possibly the band's most poignant work to date. [Jun 2011, p.107]