Lacing together 15 tracks this tight is nothing short of a rap lifetime accomplishment. [Aug 2012, p.84]

AFI bassist Hunter Burgan and My Chemical Romance touring drummer Jarrod Alexander lend their talent making for a textured record that combines Skiba's trademark dark-tiged punk sensibilities with an electronic edge inspired by '80s new wave. [Jun 2012, p.83]

Hone[s] his twangy, hip-hop Americana to pitchfork sharpness. [Jan 2005, p.114]

The British band's frothy, fun mix of samples from public domain educational films and their spunky electronic-infused art pop is taken to new heights on this live album. [Jan 2017, p.83]

This album absolutely stands on its own, never requiring visual accompaniment; for Air fans, it's a vital addition to their catalog. [Mar 2012, p.94]

There's confidence in the slower tempos and meatier hooks that add as sense of foreboding to these 11 songs. [Apr 2016, p.99]

Gosling and Shields play all the instruments on the disc and sing along with the kids choir--which sounds like a recipe for disaster but in actuality it's both compelling and surprising well-rendered.

Andy Stack's accompaniments are dynamic, elusive and overflowing with heart. [May 2014, p.94]

There's nothing here as flat-out beautiful as "Tired Climb" from 2010's Spiral Shadow, but Ultraviolet is both expansive and rockin' in equal measure. [Jun 2013, p.96]

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

Overall, Plowing is an artistic, unique and rather enjoyable step few probably expected Iceage to make, and quite easily the band's best album yet.

The heartfelt, piano-based "Do The Trick" is among guitarist/vocalist Scott McMicken's most accomplished songs--which can be said for nearly every boot-stomping moment here. [Mar 2012, p.97]

Pensive and engaging, Jumping The Tracks is the quintessential headphones record that gets better with each listen. [Mar 2014, p.88]

Having dabbled with atmospheric black-metal elements in the past, this time out Carnifex incorporates these with more confidence while never compromising their ruthless deathcore principals. [Apr 2014, p.89]

An LP of remarkable dynamic shifts, stop-on-a-dime time changes, tribal menace and sinister lyrics. [Jun 2016, p.102]

Gardner and drummer Jason Hammel discover a prettier, fuller-bodied sound and enrich it with other instruments, such as strings on the inviting opener, 'Get Better.' [June 2008, p.130]

The Bronx (IV) [is] their most infectious record to date. [Mar 2013, p.88]

He's singing, not screaming, and the music is genuinely beautiful in a haunted, intensely withdrawn sort of way. [May 2017, p.82]

This is a knuckle-walking, face-punching, tooth-spitting hardcore/metal album that’ll have you looking around for things and people that could use a good kicking.

These 14 songs find the band raging as hard as they ever have. [Jun 2015, p.97]

This cause-minded screamo-ish collective is older and more grounded, but are no less committed to inciting change that sticks. [Jul 2015, p.98]

His fifth solo album calls on both his folk and roots-rock experiences, in a bold yet familiar transition for the seasoned performer. [Jul 2012, p.98]

It contains the band's most focused songwriting since the last album Gottehrer produced, 2005's Pretty In Black. [Oct 2012, p.92]

All of this comes together to form a cohesive collection that flows effortlessly; without a doubt, it's one of the strongest guitar-rock records 2012 will yield. [May 2012, p.83]

Closest in style to 'Systemisch', it lacks the sublime glow of 'Diskont94', but it updates the former's chugging wash with a more varied tonal palette. [#146, p.97]

What glosses over those small, weird choices is the collective strength and sense of purpose found here.

This self-titled album is a reflection of Adams’ continued growth as a songwriter, and is completely relatable to anyone who has managed to survive in a marriage--creative or otherwise--long past the honeymoon phase.

It's wonderful stuff, partly because Shearwater's renditions are lovely enough to make you want to seek out the real things, and partly because, really, does anyone need another bloody cover? [Dec 2013, p.100]