Chamberlain and Bowman know where they are going, and it’s a trip music fans should climb aboard to take.

This album takes time to settle into, but once you are acclimated, it will leave you tingling. [Jan 2015, p.94]

This could-be landmark is dragged down a few notches by a grating singer. [Apr 2015, p.90]

Catchy, clever, no-frills fun. [Apr 2015, p.94]

The [concept album] format doesn't overshadow the songwriting. [Jun 2015, p.100]

For a band who ultimately decided to soldier on, the album can feel unbalanced, but still delivers all the belting feel-good choruses that made you fall in love with the Arizona crew back in 2009. [Mar 2016, p.100]

This is a band with no bullshit, no frills--just consistent, hardworking musicians putting out music that continues to push the boundaries of what the possibilities of punk can be.

Sure, this sound has been kicking around in various forms since the early 2000s Drive-Thru and Vagrant Records eras. But rarely has it been done so well.

Bloom feels less like the work of a persona than an authentic attempt at sorting out a sometimes messy life--far from perfect, yet perfectly compelling.

Ryan Adams asserts a distinctly Americana ethos into dynamic, woven layers of rock on Cardinology, showcasing the diverse range of this prolific songwriter nd his backing band. [Jan 2008, p.129]

Give this three plays and it'll stay imbedded in your autumn playlist. [Nov 2013, p.90]

It is a solid, exciting and ambitious album that proves is still a lot of mileage left in the band.

While not much of a departure from 2013's Feast Of Love as it is a second helping of their best bits, for Pity sex, refining what works has never gone down smoother. [May 2016, p.80]

Skinner's delivery is as appealing as ever. [Jun 2006, p.192]

Merritt's singularity just feels awkward, and Realism is another album in a catalog more concerned with quantity than quality.

For better or for worse, Grohl replicates each band's musical style with remarkable accuracy. [Mar 2004, p.98]

This is Sleigh Bells at their most adventurous. [Dec 2016, p.102]

Heady Fwends has racked up about one song's worth of decent material-only none of it is in the same song.

Starsailor back up their hype with a debut album worthy of more than a few cursory spins. [Feb 2002, p.80]

If you're confused and bewildered by Power, you're probably not alone. [Dec 2004, p.146]

It's not quite the masterpiece 2003's Shivering King And Others was, but it still knocks the piss out of [the Grateful Dead's] American Beauty. [Apr 2005, p.124]

Hot Mess has everything you hate to admit you love about Cobra Starship. [Sep 2009, p.104]

Vanderslice's detached delivery of this riveting material, combined with the somnolent string arrangements, makes Pixel Revolt feel like a chilled-out remix of a book-on-tape recording. [Sep 2005, p.158]

There's an overt embracement of vintage songcraft, and a few tracks would have certainly found welcoming ears in other eras. Be glad they're here now. [Jun 2009, p.102]

The Dropkick Murphys don't fuck with a good thing on The Meanest Of Times. [Oct 2007, p.156]

The instrumentation and arrangements on Strange negotiations bring out the subtleties in Bazan's ever-evolving songwriting style. [Jun 2011, p.106]

Nerve Endings is a fine introduction. [Apr 2015, p.94]

Shimmering guitars haunt tormented tunes, dark gravel growls vie with Thom Yorke-y high notes. Unquestionably, Coldplay could not have existed without an awe-stricken respect for Radiohead's The Bends, but they are also capable of escaping its shadow... [12/2000, p.94]