A radical reinterpretation of the material that expands and adapts it using inspired improvisation and healthy doses of feedback. The songs are all the better for it, with added shades of emotion and fury oozing through every chord and squeal.

The end result is an album that doesn't pull its punches, a direct message to the people with enough rhythm to get some movement out of stiff limbs while we dance away the recession blues. [May 2009, p.123]

It's the best post-retro, pre-futurist, avant-antiquarian psychedelia of 2005. [Nov 2005, p.226]

It's a comforting, fuzzy listen. [Apr 2013, p.92]

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]

The instrumentals falter. [Jun 2004, p.97]

There are no walls of distortion or crunching riffs; this time, they've traded all that for the beauty of Craig B.'s vocals and understated ambience. [Apr 2007, p.180]

With Red Of Tooth And Claw they've finally realized the full potential they've been hinting toward all those years--and like all great stories, it's not always pretty. [Apr 2008, p.158]

A reliance on monotonous tempos and rhythms--and a disappointing lack of melodic variation--further make Endless Now fell curiously lethargic. [Sep 2011, p.112]

For the most part, the album eschews the elaborate orchestration that defined his solo debut in lieu of atmospheric--and expansive--rock songs. [Nov 2006, p.186]

Lacking the hyperbole of, say, Chemical Brothers or the musicality of more band-like fare like Crystal Method, he finds a middle ground of giving-and-taking frequencies between his twos and fours, as if mixing it live. [Sep 2001, p.104]

Exquisitely crafted folk-pop minimalism that whispers with profundity and burrows deep into your heart. [July 2002, p.84]

Comfort Eagle is infinitely smarter, smarmier and catchier than Weezer's Green Album. [Oct 2001, p.79]

Chalk a point in the "win" column for the old school. [Dec 2010, p.116]

It's an arc of moods and musicianship, ranging from dynamic tension, inspired cinematic tension and moments of textured finesse. [Apr 2014, p.94]

Circa just sound oddly restrained, in a way, and the most enthralling moments don’t feel quite as emotionally resonant or grabbing as the band’s been so capable of in the past, especially with a slower pace down the stretch. That said, an average Circa Survive album is still a cut above most anything out there, and their subtle yet ever-continuing evolution remains a compelling thing. [Oct 2017, p.81]

Just beacuse they've moved toward a more organic sound, doesn't mean no fire remains in their bellies. The melodic themes and Dave Davison's vocal phrases may draw Beatles and Country Joe McDonald comparisons, but angular guitars still skitter in the back ground of "Israeli Caves" and "Solid Ground" while fleet-fingered complexity drives "Pigeon." [Jul 2010, p.127]

While The Loud Wars is overflowing with extremely impressive musicianship, creative time shifts, and interesting instrumentation, it also has an inviting pop sensibility. [Jun 2009, p.99]

With a renewed, stripped-down focus, Fortune is some of their best stuff yet. [May 2014, p.88]

The trouble is that their debut album is saturated with the kind of contrived angst that seems to always maintain a level of popularity with upper-middle class white kids who don't pay their own bills yet. [Mar 2009, p.107]

The effortless pop smarts are appealing, but the Ruffians will need to vary the delivery if they're expecting a career. [Mar 2008, p.144]

Ruthless, catchy and armor-plated, the Los Angeles quintet have focused on refining their sound, yet there is also greater nuance, making this perhaps their most atmospheric record. [Sep 2013, p.88]

The ominous charm that had fans nose over tail is not completely lost in Agony & Irony. [Aug 2008, p.156]

Loose continually festers with a blistering intensity and creativity that's not for the closed-minded or faint of heart. [Feb 2004, p.88]

In no uncertain terms, Crash Love is an accomplishment that raises the bar for them as musicians and writers.

Much of the album reflects a tension between melancholia and euphoria that sounds more like an epic battle between Fischerspooner's love for New Order and Pet Shop Boys--but with beefier, disco-fied beats. [May 2005, p.174]

Earnest and joyful throughout, they don't make records like this anymore, so be glad Anathallo didn't listen and made one anyway.

With this soft-spoken and delicate record of almost-drawling songs, he's moved his work one step closer to Nashville. [Mar 2002, p.81]