They’re obviously still working out the kinks that come with stepping out of one’s comfort zone, but all in all Let The Ocean Take Me is an encouraging signpost that sees the Amity Affliction slowly tearing up the blueprint that drove their early works.

Vannucci, stepping out from behind the drum kit, may not exactly be Dave Grohl, but his rock 'n' roll yelp is fitting with the music and a solid reminder that we don't need glitzy synths to craft solid, raucous songs. [Aug 2011, p.112]

Inventive and highly improvised. [Feb 2004, p.88]

Does it work? It depends on your idea of "flow": If you don't mind sandwiching the Trent Reznorish "Introduce" and the Squarepusher-on-crank mess of "First : Break" between the opulent epics that comprise the middle and the end of the album, Idiology comes off as an inspired collection of irreverent hackery and emotional depth. [Jul 2001, p.79]

It's a testament to Starlight Mints' kitchen-sink approach that each listen yields varied results. [Jun 2006, p.180]

It's a fairly strong, welcomed return from one of the decade's best bands of its kind. [Jan 2015, p.91]

The tone grows shrill by album's end, but occasional bursts of accessible production help alleviate that shortcoming. [Oct 2002, p.84]

If they don't make you get down, they'll certainly get your attention. [May 2005, p.124]

It is a more assured and catchier effort and showcases far better songwriting [than its 2011 debut], and though the quality wavers on a few tracks, overall it justifies those who passed on them before taking another look.

Though a giant-sized step in the right direction, Younger is not without its growing pains. [Jan 2011, p.92]

While Matssib certainly isn't breaking any new ground on his follow-up to 2008's "Shallow Grave," the songs reign supreme and his emotive tenor mixes perfectly with his worn-down acoustic guitar, all captured in perfect lo-fidelity. [May 2010, p.108]

Although the album occasionally slogs through Broder's intentionally weird melodies, it boasts enough oddball genre fusing to keep you engaged. [Oct 2007, p.172]

Policy feels a bit too plotted, too controlled. The best moments come when Butler loosens his grip a bit. [Apr 2015, p.92]

As it stands, Lowborn isn't as good as Vital, but it still does an admirable job at continuing Anberlin's sonic expression. [Jul 2014, p.95]

This 13-track disc can be heard as a welcome return to basics. [Aug 2011, p.118]

Ladytron suddenly sound evey bit as awesomely eclectic as, well, "Softcore Jukebox." [Aug 2008, p.174]

The band's most obviously emo album to date. [Mar 2002, p.72]

Enjoyable throughout. [Dec 2012, p.92]

The richly recorded songs spool out with a natural ease. [Nov 2008, p.154]

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]

Die! Die! Die! craft a rickety balance between cacophony and attractive post-punk melody. [Mar 2008, p.136]

Dymphna's genre distinctions are more sophisticated and nuanced. [Dec 2008, p.152]

Sure the plot has been done to death and you know what's going to happen; but the personalities involved draw you in like a rubbernecker gawking at a highway accident fromth safety of his car. [Nov 2009, p.105]

Even if the energy level flags toward Hysterical's end, it's safe to say welcome back, fellows--all is forgiven. [Oct 2011, p.106]

A tastefully echo-bathed, psychocandy-flavored production job by the Raveonetts' Sune Rose Wagner, and you've got a soaring and psychedelic dream-pop stunner that will leave you wondering how being bummed can feel so inanely good. [Sep 2013, p.88]

A rock record that sounds a lot like Sebadoh with an aspiring guitar hero. [Mar 2003, p.94]

Tempos have been ground down to a slow crawl, but as Melvins and Sunn O))) have proven, that tactic just gives a band the chance to prove how heavy they really are. [Jun 2010, p.105]

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]