The quartet gets a little glammy, turn in a fist pumping epic, and achieve Beatles-esque flights of fancy. [Jul 2013, p.104]

Curses is all jutting hips, attitudinal riffs and massive kick drums that demand fists be pumped in the air. [Jun 2006, p.186]

It almost doesn't matter what chanteuse Inara George--one half of the Bird And The Bee--is singing about on the duo's second full-length, Ray Guns Are Not Just The Future, mainly because it all sounds so sweet. [Feb 2008, p.103]

Loud Like Nature contains all the traits that make Add N To (X) so captivating: blood, brains and lots of loin friction. [Dec 2002, p.77]

To Rococo Rot don't need more bounce in their already metronomic step, so I-Sound shows the group on this collaboration how to add a bit of swagger. [#155, p.86]

Wratten's finest post-Field Mice LP. [Dec 2001, p.98]

It's 22 minutes of thoughtful, intricately expressed vexation like never before. [Jul 2014, p.103]

Epic and memorable. [Jun 2006, p.188]

It's a summertime record guaranteed to freak out half the "Surfing USA" fans in the world. [Oct 2006, p.202]

A collection of crisp, melodic pop tunes that showcase not only his musical abilities, but his vocal skills as well. [Mar 2007, p.145]

The core of any Low album, though, is the unearthly beauty of Sparhawk and his wife Mimi Parker's vocal harmonies, which, after 20 years, have lost none of their emotion-stirring power. [Apr 2013, p.90]

No matter what the style or genre of the music, it’s passion that drives its power, and War Psalms is brimming with it.

The reference points may be obvious and the sounds familiar, but Die Knowing succeeds where so many fail: in conveying emotion, engaging the listener and creating an experience. [Apr 2014, p.91]

A varied set of songs that's imbued with the mysticism of folklore and the romanticism of rock 'n' roll, this EP is a chance to take stock of the long journey that Frank Turner has taken so far, before he sets off once more into the future unknown.

A progressive work with plenty to offer the open-minded. [Jun 2004, p.106]

Manson is keeping things exciting and crucial the only way rock’s long-running antihero can. Pro Tip: Listen on headphones, where his unadorned, chilling stalker-esque asides will make your bladder flex.

Sweet without being saccharine. [Mar 2005, p.124]

Don't Believe The Truth strips away the layered excess of albums like 1997's Be Here Now to revisit the streamlined pomposity of the group's earliest discs. [Jul 2005, p.182]

In Reno especially, the Skulls' Agitation is one of the safest bets a punk can make. [Oct 2011, p.106]

This is a great album, one that carries the burden of growing up on its shoulders, but uses it for good instead of endlessly fighting against it, which punk bands need to do as they grow up.

Calexico is back in the desert with Carried To Dust. Which is not to say it feels like a retreat, Dust is far too confident. [Oct 2008, p.152]

Whatever meaning you take from them, however, one thing remains solid--the sheer heart with which they were forged and the very visceral emotion they contain.

There are minor lulls here, but enough highs to majorly please.

This is a record that cuts deep, but rushes right over to tend to your wounds. [Oct 2012, p.88]

At once loud and elegant, Karmacode raises Lacuna Coil's heaviness tenfold without sacrificing a drop of the band's mystical ambience. [May 2006, p.168]

End Times is easily one of Eels' finest achievements. [Feb 2010, p.93]

Koala contours his cuddly cuts for the ADD set. [Nov 2003, p.118]

Seamless and sparkling. [Jan 2004, p.98]