A new Social D album is always welcome, even if Ness' advance age is showing now more than ever. [Feb 2011, p.90]

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]

If Enon were magicians, their crowd-gasping finale would be sawing in half the expectations of what a nu-New york band should sound like. [Oct 2003, p.122]

It's virtually impossible to listen to Show Me Your Tears from start to finish; but individually, each song is a dark, delightful peek at Black in the throes of therapy. [Nov 2003, p.108]

It's anything but a lo-fi vanity project. [Mar 2006, p.138]

When Last Secrets works, it's awesome... but thanks in part to sequencing, it drags toward the end. [Jun 2006, p.180]

The band's piecemeal rock 'n' roll emerges a mish-mash of spacey barroom blues, with Kevin's voice sometimes struggling yo pair with the front-and-center obligation that rawer music demands. [Aug 2010, p.146]

Throughout, Campbell touches on one of his greatest lyrical strengths--his attention to detail--to bring scenes to life, while also being acutely aware of the underlying emotion and backstory just beyond the setting. It’s devastatingly effective.

After the doom and gloom of 2012's Gossamer, Kindred sees Angelakos walking back into the light. [May 2015, p.100]

"Bring Me Home" showcases a bit more of the band's mid-paced rock sound, very much coming across like when Face To Face try to mix punk and rock, which sometimes works and sometimes falls very short. Millencolin make it work, although when they're punking-out fast and hard (like on the awesome "Sense & Sensibility”), things work even better.

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]

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.

The Chemical Brothers seem adrift and directionless. [Mar 2005, p.138]

Another Language is a step back in the right direction, engulfing the listener with effortless subtlety. [Oct 2014, p.101]

This quietly experimental album ends up being Death Cab For Cutie's great leap forward--an achievement of pop formalism wrapped inside a beautiful cacophony. [Jun 2011, p.108]

Thr!!!er is a party for sure, but you';; never really feel it unless you and 200 of your best friends are listening to it in an airplane hanger at 110 db. [May 2013, p.84]

The Valley is an overall pleasant--and occasionally riveting--debut for the newly independent family. [Apr 2011, p.118]

I Blame You is where they make good on that promise, delivering a record as electrifying as their live show. [May 2009, p.122]

What the Horrors do, they do well. [Jun 2007, p.148]

Should you find yourself craving the fleeting rush of a dark, well-crafted pop song, Cuts Across The Land does wonders for, well, the spirit. [May 2006, p.176]

The songs last twice as long as they should. [Dec 2004, p.152]

A soulful kitsch-pop pastiche reminiscent of everything from Roxy Music to the Beatles. [Jan 2003, p.100]

A way more direct, danceable and fun album. [Jan 2003, p.104]

May be Jackson's best work to date.... Playgroup is effortlessly retro, without sounding dated. [Apr 2002, p.80]

Unfortunately, the pretentious spoken-word ramblings, corny hooks and unremarkable trance put Maas, along with Paul Van Dyk and BT, in a less illustrious category: top-notch DJs with second-rate albums under their belts. [May 2002, p.90]

The unpredictable edge that's helped made the series a standout is gone. [May 2004, p.108]

The only problem is that in making way for all the MCs, Dilated's tracks seem too peripheral, keeping Expansion from sustaining the momentum its MCs command. [Jan 2002, p.80]

While Boo! is far less indulgent than JOA's most experimental records, it remains a far cry from Kinsells's earliest work in the mid-90s emo forefathers Cap'n Jazz. [June 2008, p.131]