Going "conventional" may be the strangest move the Residents have ever made. [May 2005, p.178]

Surprises adorn "Control" and "Mother's Lullaby," too, demonstrating an impressively increased range from the usually hard-rockin' group. [Dec 2011, p.119]

While Hyperview has less interesting moments, it's an overall push toward the total renewal that adds another chapter to the band's fascinating evolution. [Mar 2015, p.92]

Voxtrot's biggest fault is that at times its understated strings, burbling keyboards and retro-fitted guitars sound almost too pretty and distant. [Jul 2007, p.170]

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

[Whales And Leeches up its game] by being bigger, bolder, heavier, catchier and even more savagely fun.

A heartbreakingly brilliant album that unravels itself slowly if you just stop and listen. [Jul 2004, p.132]

By sticking to a strict formula of short, frenzied blasts of razor-wire guitars and mosh-inciting rhythms, Cerebral Ballzy have gobbed out an absolutely fluff-free album. [Aug 2011, p.112]

Fans will love it, but if you're not already on board, this album won't change your mind. [Oct 2007, p.169]

Like Creeper's previous albums, Take Back The Universe is a delicate piece of criss-crossing jangles and loose-limbed riffs, but the shimmery sprawl never coalesces into anything concrete. [#154, p.73]

It's a unique psychedelic experience only the most headstrong will be able to handle. [Aug 2004, p.122]

The Invisible Band has more layers, more moods than ever before, and more tunes as well. [July 2001, p.88]

Exactly what you'd imagine. [Sep 2005, p.170]

All [their] cleverness works better than ever before. [Oct 2004, p.142]

It's sometimes an odd fit, but the friction sparked from these mismatched traits lends Detrola an eccentric charm. [Apr 2006, p.222]

Although their fifth album has plenty to satisfy orchestral-rock geeks and hook-heads--especially the ecstatic, merry-g-round-dizzy "up In The Dark"--the collection shines when it goes for nuance and subtlety. [Jun 2010, p.108]

The bulk of Baby 81 draws from the dark underbelly of the Woodstock generation. [Jun 2007, p.156]

This collection comes together in a much more cohesive and fluid sense [than their debut.] [June 2008, p.131]

It avoids the sophomore slump by mixing a little meloody in with the morose--sort of like a down-tuned Pinback for stoners. [Apr 2009, p.108]

III/IV is the director's cut of a moment in Ryan Adams' all-too-prolific career. It adds dimension in some areas, but may be too much information for causal fans of the singer/songwriter.

The duo's engaging, self-titled debut isn't quite as easy to parse as their moniker. [May 2009, p.123]

They reinvent themselves as house-music auteurs exploring a sound closer to shoegazing's late, great headphone womb than house's aerobic aphorisms. [Nov 2001, p.79]

They've honed their craft to incorporate increased nuance alongside blunted force. [#153, p.83]

There's plenty of killer talent to be found here. [Jul 2003, p.108]

While the musicianship is first-rate, the middling tempos and docile, homogenous instrumentation quickly grow boring. [Oct 2002, p.94]

On Disco Volante, [David Gedge] sometimes becomes as tedious as a typical pick-up line. [Jan 2001, p.86]

It's a relief to hear even weirder experiments emerge on Fragrant World--especially the second half. [Sep 2012, p.94]

A few throwaways aside, Beacons is a welcome kick in the tush. [Jul 2009, p.131]