A compelling spin. [May 2006, p.164]

Crystal Castles is gloriously danceable and hopelessly chic. But really, it's... hearing only...judging is... you know? [Apr 2008, p.162]

It starts off strong... While the slow chug of "Divide" and the somewhat MOR jangle of "Teen Rocket" might have worked better as B-sides, they get it spot-on with "Wnat Would You Do." [Jul 2014, p.102]

The shift toward less discord and more opportunity for a listener to sing along may initially throw off a seasoned HEALTH fan, but it is sure to introduce new ears to one of the most accessible noise bands of the last decade. [Sep 2015, p.98]

We All Belong is phenomenally consistent.

The majority of the tracks on Tomorrow's Hits feel like they were cooked in the backyards of Laurel Canyon with ambling rhythms, the lilt of lap steel guitar and an air of stoned desperation lingering over it all like smog. [Apr 2014, p.92]

Fuse[s] the best parts of '60s rock and '90s rock without sounding dated (see Oasis) or contrived (paging Franz Ferdinand). [Jan 2005, p.113]

More Light... burns with a raw intensity, albeit sandwiched between moments that recall Mascis' acoustic and goofy backwoods major-label work. [Jan 2001, p.94]

Your Majesty comes off as less gooey and precocious than your average Vagrant Records paramour. [May 2002, p.78]

The subject matter may be a bit heavy, but the beats keep it bouncing along. [Jul 2001, p.73]

Geller's keyboard-fueled squiggles and quirky effects are effervescent but never cloying, thanks to the seriousness in Dykes' aloof, melancholy voice. [Oct 2001, p.84]

Closely approximates what Tears For Fears' The Hurting would have sounded like if Roland Orzabal and Curt Smith had grown up in Georgia. [Apr 2004, p.84]

Filled with laid-back, intelligent electronica equally suited to dancing and chilling, Production ultimately succeeds through its deft combination of strikingly disparate elements. [#153, p.79]

It's the most solid album in the group's discography, haunting with moments of near perfection. [Mar 2008, p.140]

The songs of whiskey drinking, pretty girls and heartbreak are certainly Lucero's bread and butter, but stacked up against their back catalog, Women & Work plays it just a little too safe.

Meticulously orchestrated by frontman Conrad Keely, Tao Of The Dead hits a full-on prog rock pose with seemless transitions, classical movement structures and lunar background flourishes scraping the Dark Side Of The Moon. [Mar 2011, p.92]

For a young, non-jaded Pantha Du Prince fan, though, this could resonate yet.

Pussy's Dead is Autolux at their most intriguing--and was definitely worth the wait. [May 2016, p.80]

The real reason narrow Stairs works so well is that despite the band's more esoteric experiments, they still contribute standalone pop hits. [June 2008, p.125]

Thermals don't aim to shock. They don't aim to please, either, and their dynamic punk spirit is as smart and infectious as when they began in 2002. [May 2013, p.92]

A bit too cleverly loaded with cultural critiques, winks and nods. [Apr 2006, p.207]

Too big for the shallows, White Whale are at their best when pushing out into the depths of dense melodies and sea-breezy lyrics. [Sep 2006, p.216]

Ladytron suddenly sound evey bit as awesomely eclectic as, well, "Softcore Jukebox." [Aug 2008, p.174]

Second-rate Shins. [Aug 2005, p.164]

Fresh, funny and unpredictable. [Apr 2002, p.72]

In mood, style and tone, Riot Act sounds like every other Pearl Jam record, but this is not necessarily a bad thing. [Dec 2002, p.89]

This journey to Nocturama's not to be missed. [March 2003, p.88]

Thanks to such marked songwriting growth, Wolf's Law cements the Joy Formidable as a ferocious rock act and as a band with plenty to say. [Feb 2013, p.89]