Saturated with stark realism, her confessionals and fictions mark the grueling aftermath of pop's lovey-dovey daydreams. [Mar 2007, p.136]

Being bent out of shape never sounded so good. [Mar 2007, p.142]

The best comparison for April is Neil Young. [June 2008, p.131]

This is a great record for staring out the window of a train on a sunny winter day. [Jan 2008, p.125]

A strong sense of flow and cohesion also bolster Dark Adrenaline, giving fans 12 solid reasons to fall in love with the band all over again. [Feb 2012, p.84]

All told, this is hardly a bad addition to Eisley's burgeoning catalog—their development is obvious, and there are enough quality songs present to improve that theoretical "greatest hits" collection for their live show.

Azure Ray have traveled even further down into the next level of the dreamscape. [Oct 2012, p.84]

How We Operate shuffles between exuberance and wistfulness like a drunk stumbling through a crowded bar--and yet, oddly enough, it's also onoe of the more coherent albums in Gomez's career. [Jul 2006, p.192]

FYS are still trying to figure out just who they are and who they want to be musically, and ISWSOF accurately represents that struggle.

Doom Abuse is great, if only as a reminder of how good Blank-Wave Arcade was way, way back in 1999. [May 2014, p.91]

Enon proves once and for all that spooky does not necessarily mean quiet, and being goofy doesn't make you a joke. [July 2002, p.80]

Public Enemy remain fiercely independent and definately revitalized. [Nov 2007, p.176]

The U.K.'s Lo Fidelity Allstars are having the genre-smashing time of their lives. [Apr 2002, p.78]

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]

When it works, it’s great; when it doesn’t, it feels clunky at best and skippable at worst.

These six songs offer moments as heavy as P-Tree have ever been, but are wistfully, sprawlingly melodic as well-sometimes in the same tune.

C'mon, which was the band recorded in an old church in their hometown of Duluth, Minnesota, has moments of slowcore brilliance. [May 2011, p.93]

This time, the heartfelt stuff sounds more sugary than before, while the hate vibes sound even more caustic. [Sep 2002, p.73]

There's no absence of strong material here, although the sequencing feels awkward. [Oct 2002, p.94]

Yuck probably aren't mourning Blumberg's loss, but Glow & Behold--though more scattershot and less striking than Yuck--would be an ambitious and creative coping mechanism. [Nov 2013, p.94]

So despite some standouts--thw more energetic and melodic "Dissolve" and "Swoon"--the Brothers' latest, trippiest trip is best taken as a whole. [Jul 2010, p.123]

Their fifth full-length Showroom Of Compassion shows Cake's key ingredients surviving their 20-year career unscathed. [Feb 2011, p.86]

They're not doing anything they haven't done before, but the triumphant unpretentious anthems on The Power Within area as fun as metal gets. [May 2012, p.75]

A little more focus in that department [including everyone's vocals in each song] would have gone a long way toward giving some ballast to this soupy, stormy effort. [Feb 2016, p.102]

This is no-frills, passionate hardcore with a purpose. [May 2014, p.93]

"Waves" may boast a certain post-punk urgency, but Dulli's on to something more seductive here. [Mar 2011, p.99]

Underworld are dancefloor outsiders humble enough to leave the 12-inch stuff to the kids, but good enough to be the Yes of dance rock without turning into Jethro Tull. [Oct 2002, p.82]

9BA have a sense of urgency that should appeal both to Anglophiles and to punk scenesters who also inexplicably like Oasis. [Apr 2006, p.216]