It's songs seem somewhat aimless at times, but Repave is worth the journey for its riving consistency and moments of hook-laden greatness. [Oct 2013, p.94]

A sprawling, diverse affair. [Mar 2015, p.94]

The album nods to "Things'" lush, layered pop, while adding hefty shoegaze crunch, kicky new-wave synths and diffracted drone.[Dec 2008, p.148]

Farrell's silvery adenoidal baritone scissors through bass-heavy raggamuffin beats, dreamy swells of keyboard-fueled atmosphere and ticklish breakbeats -- and the slapdash aesthetic somehow coheres. [Aug 2001, p.79]

It's a bit frustrating that Woodruff is still rehashing the lyrical doom-and-gloom of the band's early work. [Jun 2010, p.105]

Transcend[s] the alt-country tag. [Aug 2006, p.206]

These sparse, haunting pieces evoke that bedroom-bound-genius mystique many songwriters futilely try to attain. [Sep 2002, p.84]

There are a kit if sounds present, but the band manage to make them come together as one. [Jun 2011, p.106]

The live drums and guitars show how the duo's chartbusting sound bears a surprising similarity to modern metal. [Mar 2002, p.86]

He tweaks frequencies and shades his queasy bass lines like the Neptunes on a diet of Red Bull and espresso beans. [Jan 2003, p.100]

The stitched together samples, drum machine splatters, and foreboding synthesizers come across like the soundtrack to a particularly quick edited and terrifying lo-fi horror flick.

Eschewing the DJ-friendly club format they perfected on 1999's Remedy, the Jaxx are now writing R&B-flavored pop songs... But their success is hit-and-miss... [Jul 2001, p.60]

Lightburn's musings are best met with equal grandeur--such as the low-key but effective sort Missiles usually provides. [Dec 2008, p.138]

Sprout is doing a fine job of keeping his legacy untarnished. [Apr 2003, p.73]

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]

The most sophistcated punk-pop you'll ever hear. [Mar 2007, p.136]

Tres Cabrones pummels you with no-frills sludgy goodness like "City Dump" and "Stump Farmer," uncomplicated and uncompromising metal.

Polymers Are Forever makes the noblest of gestures-confusing the hell out of people who love their culture served to them on a stick while getting their fans psyched for a proper full-length early next year.

[Makes Me Sick] creates enough slight sonic diversions to give longtime fans something new to enjoy. [May 2017, p.82]

What could have been a sterling six-track EP is still a solid album to blast until the weather matches its summertime mood. [Feb 2010, p.97]

With its background ripped straight from ’80s video games and its foreground featuring rip-roaring guitar, Science And Magic bridges a gap between goofy nostalgia and a welcome adventure. [Jan 2016, p.95]

An upbeat garage-pop act who are never cloying. [Dec 2005, p.204]

Much more songwriter-based than [his] early discs. [Sep 2006, p.230]

Although there's no shortage of menace and mystery on her goth and dark wave-inspired full-length, these uneasy, creeped-out feelings seep into the unconsciousness only after repeated listens. [Jan 2016, p.95]

Born Under Saturn is an album of ambition, and while the gaffes certainly hold it back, there are enough good ideas crammed in throughout, making the album a worthy trip to a spacey dancehall.

All Osborne's vocal and instrumental hallmarks--including enigmatic lyrics and track titles--are in place, so it's not really a departure, but it's also too good to be shrugged off as for Melvins fans only. [Jul 2014, p.100]

Once you get inside this static, it's the ideal place to hang out. [Oct 2009, p.106]

Johansson sounds more in her element in this one, starting off strong with the bittersweat bounce of 'Relator.' The only misfire on Break Up is an overly arty rendition of 'I Am The Cosmos' by Chris Bell of Big Star. [Oct 2009, p.115]