This debut will pour plenty of gas in the band's tank. [Nov 2014, p.94]

The record’s high peak, “Upstate Blues,” displays more Kinsella influence (this time Owls) in its jazzy bursts. But the clever wordplay is all Weiss.

Bon Iver is a brave change in certain places and only a careful departure in others, but its seemingly polar styles blend smoothly as only Vernon is capable of.

Surrendering to its strange charms could be one of the smartest decisions you make this year. [Jul 2013, p.106]

There's a defiance to BRMC's carefully crafted mix of brooding vocals and blurred melody that unites disparate musical elements into blasts of noisy cohesion and howling passion. [#155, p.72]

While earlier efforts verged on immateriality, Set Free memorably mixes acoustic strums, brushed drums and Andrew Kenny's wistful vocals. [Nov 2005, p.208]

They're still crisp and cold--kind of like the Terminator--but somehow unlike Ahnuld, it's possible to hear a human heart beating within the steel. [May 2008, p.138]

Despite the obvious fun Foxy are having, the darkness that comes from balancing life and career ebbs just beneath the surface, bringing a depth that isn't immediately evident through the copious gloss and glitter. [Feb 2012, p.82]

All Aboard Future--for all its dystopian doom--somehow shakes out as the first truly modern punk record of 2009. [Apr 2009, p.133]

Even though Case already pushed the envelope creatively on her previous effort, "Fox Confessor Brings The Flood," she goes one step further, using several homemade instruments resembling a music box and snake charmer's flute. [Apr 2009, p.134]

Loose continually festers with a blistering intensity and creativity that's not for the closed-minded or faint of heart. [Feb 2004, p.88]

Sonically, Knopf has never sounded more confident. [Jun 2012, p.82]

It's still early to see if they'll transcend the hype, but Dying In Stereo bodes well by keeping it real over simple old-school beats. [Aug 2003, p.108]

Loudboxer revisits stark, pounding techno at a moment when the genre's fallen from favor, in the process revitalizing the form. [Aug 2002, p.84]

The songs, though we've heard them many times before, take on a surprisingly fresh and delicate new identity. [Feb 2006, p.122]

What Apollo Sunshine may lack in cohesion, it more than makes up for in spirit. [Nov 2005, p.218]

How they were able to construct an entire multi-layered universe (sonically, lyrically and with narration!) for listeners to get lost in-while writing some of the strongest and catchiest songs of their career-is anyone's guess. For the cookie-cutter bands and haters out there, that's what we call sweet revenge.

Pierce's vocals and playing reach higher and push farther forward than they did on previous albums. [Apr 2012, p.98]

Besides a few corny riffs and dated moments, this is far and away the album Saosin's cheesy imitators have been attempting for the last 13 years. [Jun 2016, p.102]

PUP is 10 songs of irreverent party jams for buds and their gals and their bros.

The album doesn't stary too far from what made MUTEMATH such an enjoyable listen, but it's nuances cement Armistice as the band's best work to date. [Sep 2009, p.99]

This is the best Foetus record in about 12 years. [Aug 2001, p.88]

If anything, the quality of Stevens' B-sides further validates the folk-hero legacy he's begun. [Sep 2006, p.212]

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

Mondo Cane is surprising considering how engaging a listen these visits into grandiose operatic profundity really are. [Jul 2010, p.127]

[Andrew Kenny] The Austin native has never sounded so loose and assured as he does on Matchsticks. [Jul 2011, p.112]

Back with album No. 2, Beak> feel more purposeful somehow.

Shows LaValle exploring new and exciting sonic territory with mostly positive results. [Oct 2006, p.200]