What really makes News And Tributes impressive, despite lacking the immediacy of its predecessor, is that it captures the Futureheads comfortable in their own skin. [Aug 2006, p.218]

The Bloom and the Blight is the pair's most concise and best work to date. [Oct 2012, p.92]

"Key Entity Extraction: Domino The Destitute" contains everything that makes Ascension a great record: heavy riffage, soaring leads, shouting, undeniable hooks, and no bullshit in between. [Nov 2012, p.91]

While it may not achieve the same sort of emotional depth fellow math-rockers Foals have, it would still be wise to follow them in whatever they go. [May 2012, p.81]

Page Hamilton and Co. show more growth than they have in nearly two decades. And damn, they still have it when it comes to riffs. [Dec 2016, p.102]

All Aboard Future--for all its dystopian doom--somehow shakes out as the first truly modern punk record of 2009. [Apr 2009, p.133]

It doesn't push the envelope. [Jan 2012, p.97]

Rainbow feels every bit as massive as the world it sets up. It's not just the heaviest record in Coheed's arsenal; it's also one of the strongest.

Back with album No. 2, Beak> feel more purposeful somehow.

Plays like the soundtrack to a string of awe-striking discoveries. [Feb 2006, p.120]

Title TK isn't awful, but it's too zoned out to draw you in. [Jun 2002, p.71]

Held together nicely by Armstrong's expertly scored strings and a generally tranquil tone common to most of his work. [Jun 2002, p.71]

While it doesn't flow with the breathless ingenuity of their earlier albums, it's still a cut above 90 percent of today's electronica. [#147, p.109]

The lyrics can be heavy-handed--images of greed, violence and the apocalypse dominate, with varying levels of success--but the danceable beats and grungy atmosphere make Corpus the ideal soundtrack for debauchery in the face of economic depression. [Mar 2009, p.112]

They may not be reinventing the wheel, but when a band play with this much riotous excitement, who needs reinvention? [Mar 2010, p.98]

TDS' debut full-length captures punk's careless mischief and re-keys it for the new millennium.

On his third solo album, Crow fully embraces his eclecticism. [Nov 2011, p.92]

Angles ends up being one of the group's more compelling efforts, rather than the casualty of experimentation it could have been.

The gently frenetic interplay between instruments works in the opener "Cut From The Cloth," but tires after nine carbon copies. [Jan 2007, p.134]

Giraffe hums with the kind of lush, emotive pop New Order were making circa Power, Corruption and Lies. [Mar 2003, p.94]

Blixa Bargeld's singing voice lacks distinction, but Mobile's emotional intensity, cinematic grandeur and eerie beauty render that a moot point. [Mar 2004, p.110]

A refreshing journey back to the plugged-in analog sound of early 'Lab albums. [Oct 2001, p.100]

Their strongest and most distinctive effort to date. [#151, p.71]

Embraced by the masses or resigned to cult status, Sebadoh's reunion is a welcome one, and this strong album is a fine return to peak period form.

Songs like "Electric Chair" show the promise of this project, but unfortunately, the rest of the disc is fan-only filler. [Apr 2005, p.130]

The London-based compulsive hair-dyer follows 2007's soulful breakout "The Magic Position" with the luxurious sounds of The Bachelor, the first half of a double album to mixed results. [Sep 2009, p.108]

It's certainly a progression for Metric, but it's an evolution whose emotional honesty--and sonic depth--are rewarding and affecting. [Jul 2012, p.94]

Our quality of life would instantly improve if this disc didn't exist. [Feb 2005, p.94]