In short, Augustana is every Top 40 radio programmer or licensing supervisor's dream disc. [May 2011, p.92]

True to form, the band deliver yet again on Car Alarm. [Nov 2008, p.155]

While it isn't his best work, Rain on Lens shows that Callahan is proving to be frustratingly hard to pin down, but capable of unleasing brilliance at any given time. [Nov 2001, p.94]

Double Figure forms a mysterious narrative filled with enough breaks and builds to keep the most jaded beathead more than satisfied. [Aug 2001, p.96]

[Turner's] newer sound, along with more layered arrangements, lends itself nicely to Arctic Monkeys' take on pop, balladry and stoner rock. [Jul 2011, p.106]

On 2008's Brain Thrust Mastery, the trio attempted to inject a bit more seriousness and Brit-pop influence into their best-when-kept-simple sound, to varying results, but Barbara finds them back in their comfort zone--fun, danceable pop-rock.

Should please sophisticated pop connoisseurs. [Nov 2001, p.85]

III features the type of effortless electro-pop which made the act's 2006 debut, We Are Pilots, so irresistible. [Nov 2012, p.94]

The songs are good, if a tad bit faceless. [Apr 2012, p.99]

The one thing the album really lacks, though, is an obvious single. While many songs are memorable, there is nothing that suggests any of the tracks have the classic quality of "Juneau," "History," "Streetcar" or "Into Oblivion (Reunion)."

With Our Endless War, the band have shown they have more than enough skills, and they finally have enough ideas; it's time for them to take the plunge, break through deathcore's confines, and become the band they could be.

It all works... simultaneously calling to mind Fall Out Boy and Franz Ferdinand. [May 2007, p.158]

Those fond of musical risk-taking will find Light Chasers to be a thrilling experience. [Oct 2010, p.113]

FC Kahuna tracks revel in the duo's simple blurbs of sound and less-is-more sonics. [Jan 2003, p.91]

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]

Compromise is usually a dirty word in music, but here's one that really works. [Jan 2012, P.98]

Sure there are some lulls; but the face-melting trash that surrounds these tunes proves the band still have it in 'em to, well, slay. [Dec 2009, p117]

Even at his most commercial, Jake stays true to his groove. [Jan 2008, p.131]

A solid rock album that plays like the history of Great Britain's contributions to rock 'n' roll. [Mar 2015, p.92]

Not everything hits the mark, but there's enough to delight in and offer plenty of hope for the Chiefs' future. [May 2014, p.93]

The reason it works is that the songs themselves are consistently interesting without recognizable samples or gimmicks, often boasting melodies you'll walk away humming. [Oct 2012, p.88]

This Means War exhibits admirable growth.

The haunting tone unfurls itself further with every successive listen, making this an album worth returning to again and again. [June 2009, p.102]

The Distance Is So Big isn't as immediately accessible as previous Lemuria records, but overall, it has far more depth. [Jul 2013, p.100]

Strikingly beautiful pop songs. [Nov 2004, p.142]

A satisfying and surprisingly profane comeback. [Jan 2005, p.114]

What remains on Night People is anthemic enough to keep people listening. [Feb 2017, p.82]

K-os occasionally veers into icky soft-pop territory on Atlantis, but give him props for mostly imagining where hip-hop might go in the future rather than recycling its past. [Mar 2007, p.144]