Burn The Maps' muted vibe demands that you turn down the lights, fire up the candles and listen hard. [Mar 2005, p.132]

This fifth full-length has everything fans expect from an Eisley record. [Mar 2017, p.82]

Much of Normal Happiness combines the effortless charm of classic power-pop with elements of prog as put through the filter of early Genesis or Ween; kind of like that last New Pornographers disc, but better. [Nov 2006, p.188]

Frustratingly, Jukebox takes a more soft-focus tack. [Feb 2008, p.114]

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]

Why does Warp Riders feel so lacking? The root cause could be that the songs on this album are stripped of the sexy strut that marked the Sword's earlier efforts. [Sep 2010, p.113]

Loaded with lilting melodies, powerfully introspective lyrics, swelling harmonies and an orchestral quality whose timelessness transcends trends. [Jul 2003, p.121]

A gimmick-free indie-rock record that's both instantly gratifying and that seems destined to join the timeless-pop pantheon. [Dec 2005, p.202]

Ebullient songs like "Dream About The Future" and "Told You Once" have the choruses to give ELO fans "Back to the Future" chills, but they should also make any pop lover an instant Apples adherent, too. [May 2010, p.102]

Though fans may expect these collaborations to be less structured than a MURS solo record, there's a few songs that just leave you feeling unsatisfied. That being said, Fornever is still a solid disc, and will please the average indie-rap fan.

While several songs do need an editor--"Dressed In Dreams" in particular drags quite a bit--the record's honesty and vulnerability are inspiring.

If it’s a retread you want, American Beauty/American Psycho isn’t for you. Because it’s the sound of a band boldly challenging themselves and their fans to let the past be just that, while embracing the weirdness and uncertainty of the new and the next.

It's not a "clever" record in any sense, but who needs to think when the music is this much raucous fun? [Sep 2015, p.98]

Hill's first solo outing is a 450 bpm bonanza with 13 tracks of slasher-jazz that are surprisingly catchy and cohesive. [Sep 2008, p.162]

Easily one of the best debuts of 2012-or 2022, for that matter.

The contemporary-grunge and vintage New York-punk nods packaged here are unthreatening; singer Lillian Berlin's vocals are forgettable; and his lyrics remain more stupid than socially aware. [Dec 2005, p.214]

One of the most honest albums we've heard in quite some time.

The overall effect is of a 21-century Mighty Lemon Drops, but there's certainly something to be said for a Heaven comprised of such modest glories. [Jul 2012, p.100]

Panic! At The Disco have completely hung up their steampunk wardrobes to deliver one of the year’s finest modern-pop works.

Power and passion haven't sounded this vibrant in a while.

On Small Craft, the 62-year-old Eno has provided both sonic career overview, as well as an engaging experience for listeners wanting something both familiar and new. [Dec 2010, p.111]

Born Under Saturn is an album of ambition, and while the gaffes certainly hold it back, there are enough good ideas crammed in throughout, making the album a worthy trip to a spacey dancehall.

A menacingly sweet and sweetly menacing set of electro pop. [June 2003, p.109]

Walls tends to fade into the background during its instrumental moments, dulled by textures and emotional ebbs that aren't very distinctive. Better are sharper rock songs. [Aug 2009, p.115]

The album runs out of steam toward the end, but the first few tracks are gold. [Nov 2009, p.109]

Narcotic, hypnotic and quietly cerebral, it's more satisfying and less elusive. [Jul 2003, p.112]

Their best album to date. [Apr 2002, p.70]

Absolution's chaotic choruses feel like the triumphant culmination of some earth-shattering undertaking. [Jul 2004, p.146]