[Weikel and Summers] positively push forward, blissing out with an educated northern soul and a highbrow glide-guitar jones that finds them creating their own space in time. [Aug 2004, p.106]

Listening to singers Torquil Campbell and Amuy Millan is like watching two dancers perform an urgent ballet: Their equally lovely voices merge and seperate, always working in unison and sometimes soaring above the other. [Jul 2010, p.127]

Beyond the necessity, Birdie is a record that teeters an indie/emo line with ease and a sense of hybridity. Press “play” for a sense of melancholic calm.

World Peace is a frustrating experience, moving too quickly between temperaments and overstaying its welcome by a good 20 minutes.

Telepathe should be appauled for making a challenging record; though it frequently doesn't hit the mark, there's plenty for fans of minimalism to get excited about. [Mar 2009, p.116]

It could have easily gone into darker, scarier narratives and/or sonic atmospheres but they shut it down at the near three-minute mark. Unnecessary brevity is a sticking point: Sea Of Cowards' 11 tracks run a little over 35 minutes.

The album is a success because it shows sophistication and growth. [Apr 2014, p.94]

Like Merzbow jamming with a broken dishwasher through a short-wave radio. [Nov 2004, p.146]

It's right in line with the band's natural progression; so much so that it's almost difficult to believe it didn't come out a decade ago.

It's certainly a leap further into the ethereal weirdness that defined 2004's shoegaze- and electronics-inspired Panopticon. [Nov 2006, p.192]

How We Operate shuffles between exuberance and wistfulness like a drunk stumbling through a crowded bar--and yet, oddly enough, it's also onoe of the more coherent albums in Gomez's career. [Jul 2006, p.192]

We're skipping past Gold Medal's soggy, pub-folk title track toward an otherwise flawless album of glossy, commercial punk. [Dec 2004, p.142]

While the disc does get bogged down with a little too much force-feeding of the Christian and Gloria characters (just like Idiot's Jimmy and Whatshername), it's a safe bet that the listener will come out the other end having largely enjoyed the last 70 minutes and 18 tracks.

As stylishly remote, timelessly constructed and challengingly intelligent as you'd expect from artists like these. [May 2002, p.83]

Slow and achingly graceful, L'Altra's mellow moods are welcome any time of day. [Jul 2002, p.76]

All you can do with oaklandazulasylum is dive in and hang on to the moments of true beauty, the shards of shattered folk songs, synth-pop and multitracked harmonies that litter--or decorate--why?'s mindscape. [Sep 2003, p.118]

The music you'd imagine might play as you ascend to heaven--or the soundtrack to the WB's next teen drama. [Aug 2004, p.118]

This husband-and-wife team have made the same album for the third time. [Nov 2003, p.100]

Loudboxer revisits stark, pounding techno at a moment when the genre's fallen from favor, in the process revitalizing the form. [Aug 2002, p.84]

The Flood, in contrast [to its self-titled debut], is a genuine statement of artistic purpose. [Jul 2011, p.110]

Dense, chaotic and ugly, every track challenges the listener to make it through the stormof noise in one piece, refusing to do anything the "easy" way. [Aug 2013, p.84]

More like sophomore triumph. [Nov 2014, p.94]

The Lemonheads is the album Dando should have made 10 years ago, and poppy punk ain't what it used to be. [Nov 2006, p.200]

Shines with a matured level of song composition. [Aug 2006, p.208]

The disc is at least 20 minutes too long, with Slug coming off like he's simply recycling the same lyrical ideas in the last third of the album. [Jun 2014, p.104]

With Nothing, Manchester Orchestra have created what will ineveitably be regarded as one of the landmark releases of 2009, and more noticeable they've exceeded the hype that's surrounded them for nearly three years. [May 2009, p.109]

Live! is essential listening for Decemberists obsessives--and an excellent primer for those who aren't fans just yet. [May 2008, p.135]

O finds Tilly And The Wall perfecting the art of looking at the world through rose-colored glasses--without losing their inherent sweetness or zest for music's restorative qualities. [July 2008, p.150]