For anyone who misses the era when Tegan And Sara were still crafting fizzy, folky breakup--and makeup--songs, Say What You Mean is the perfect remedy. [May 2013, p.92]

Exposing her honest and disarmed self more than ever, Neko proceeds to open old wounds.

This compilation has something for every fan, and with any luck, Bloodshot has another 20 years to look forward.

The Crane Wife isn't automatic for the people yet, but it's far from green. [Nov 2006, p.188]

While the band might sound particularly confident on Killing Time, this attitude never turns into cockiness. [Mar 2011, p.91]

It's an album that's easy to overlook, but careful listeners will be rewarded with a world of sound. [Apr 2011, p.122]

Best experienced as a single piece of ever-evolving music, this is post-rock at its most melodic and dynamic best. [Jul 2013, p.104]

Smartly packaged pop that's as slick as Stereolab, but human enough--thanks to Coyne's earnestness and sincerity--to malfunction in all the right places. [Sep 2002, p.77]

A refreshing slice of acoustic rock from an indie icon. [Nov 2003, p.114]

The album is a kaleidoscopic montage of stitiched-together riffs and motorik propulsion, sometimes sprawling in execution but exhilarating in its reach and reckless abandon. [Jun 2009, p.109]

An impressive and diverse follow-up to an already-impressive debut.

A melodic masterpiece of regret. [Oct 2003, p.122]

This is as good as emo gets in 2015, and one of the most consistently stunning records of any type this year. [Oct 2015, p.98]

Sam Beam has returned with a third full-length that rivals just about anything in his small but illustrious catalog. [Nov 2007, p.162]

It's Death Cab's slowest and most mature recording, and over time, hidden bits of magic reveal themselves brilliantly. [Nov 2003, p.98]

The force of his personal aesthetics--coupled with the assistance of a similarly fearless group of friends-- has made for not only for one of the best albums of the year, but has produced evidence proving real artists simple don't settle, no matter how fast the calendar moves. [Dec 2011, p.122]

In the end, Modern Vampires just seems to fade into a dull glow that will still be overshadowed by the band's explosive self-titled debut. [Jun 2013, p.102]

His most winsomely loveless lyrics yet. [Oct 2002, p.92]

A nuanced masterpiece. [Feb 2004, p.88]

In the indie universe, rarely do groups making such live spectacles have albums to back up the show--but this charming, smart, lush pop is a notable exception. [June 2003, p.97]

An accurate representation of the prolific group's career. [Aug 2004, p.106]

Riff-roaring and exuberant, this album funnels the sprawling noise of the band's previous discs into one direct aural javelin aimed for your brain. [Jan 2005, p.112]

A massive instrumental effort, as skilled and musical as it is on-the-fly improvised and messy. Seamlessly blending sonic experiments with live group interactions, godspeed saunter through these four extended pieces with ease. [#150, p.94]

Sounds like a good Wallflowers record. [Mar 2003, p.98]

They're so busy crafting the perfect pop song... that they've made a uniformly dull album. [Sep 2003, p.102]

Hyro has much more on his mind than frat-friendly Bic-flicking; he tackles hip-hop stereotypes, the peculiar lure of the bad part of town and the end of the world as we know it in dynamic verses that go from a whisper to a scream without losing intelligence or intelligibility.

The despair in the vocals complements the weight of the music, with just enough melodic hookiness in places (especially “Outside Of Me,” “Sheltered” and “Knew”) to keep you engaged, balanced with some truly epic tangents (see closer “Around The Railing”).

As a listener it’s a thrill to experience the album’s myriad twists and turns. Although it’s almost ominously dense in terms of the sheer amount of notes played, Rescue & Restore’s 11 tracks still seem to blaze by without becoming repetitive.