This is the future of metalcore. [Mar 2014, p.88]

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]

It's not bad, but it's no zobie romance, that's for sure. [Mar 2009, p.113]

While some songs could benefit from a slight edit, Woods still feels complete--and essential. [Jun 2012, p.80]

Yeah, they've been putting out pretty much the same album for the last 10 years. [Jun 2007, p.158]

Somewhere Else is only rewarding if you can stay awake. [Feb 2013, p.90]

It's not as abrasive or confrontational as previous efforts, but Worship nevertheless shimmers with a defiantly bleak edge. [Jul 2012, p.90]

The Sneak Attack proves this pioneer and innovator's run is far from over. [Aug 2001, p.90]

Teenager music for people who were teenagers in the '70s. [Apr 2007, p.190]

Speakers and Tweeters is an admirably varied effort from a band whose Two-Tone jones is just the starting point. [June 2008, p.137]

He abetteed by vibrant backdrops full of guitar-driven samples, which push the disc closer to rock than hip-hop and keep the energy high. [Aug 2009, p.106]

It sounds like all those summers hanging at the cottage with Lemmy Kilmister and Lars Frederiksen finally made him realize there's more than one way to blow out your vocal cords. That makes Old Crows/Young Cardinals a welcome reinvention. [Aug 2009, p.106]

The most impressive aspect of Rogers' Thomas Giles persona is his ability to surpass the metalcore/mathcore trappings of BTBAM--it's probably the most versatile album to ever be released on Metal Blade Records. {Mar 2011, p.99]

Too Young To Be In Love captures the primal pulse of vintage late-'50s/early -'60s radio bubblegum with a loving touch. [Apr 2011, p.115]

Suicide Silence's third full-length maintains the visceral brutality that has characterized their output, even as it builds upon their unsettling strengths. [Aug 2011, p.120]

They might be unusually eclectic, but these songs, full of Kasher's trademark incisive insight, are a compelling addition to his ever-increasing catalog. [Nov 2013, p.90]

Creative Adult live up to their name well enough on this full-length debut, but they sound truly realized and focused by Psychic Mess' finale, with the band sorting out confused emotions per the title but landing musically right on point.

Overtly confessional and cathartic, it's no wonder the pair have been held up as one of the main participants in the emo revival. [Sep 2014, p.106]

You may need subtitles to truly grasp the psychedelic splendor of Devendra Banhart's Smokey Rolls Down Thunder Canyon. [Nov 2007, p.174]

Dizzying psychedelic bong-fodder that requires neither psychedelics nor bongs. [Aug 2005, p.176]

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

Though some of the songs are more sultry than dark, this overall effect of Lanegan up front and Campbell in the middle distance--angelic, etheral, almost intangible--is the magic that makes their collaboration so memorable. [Jan 2008, p.124]

Sleep Forever is a fine album, but you get the sense that if the band focused on their pop sensibilities as much as they do their more seemingly aesthetic inclinations, it would have been a great album.

All too often it feels like the band are ignoring the part of their name that gives them carte blanche to experiment and toy with expectations.

The result is an album that's equally pissed and poised. [Apr 2012, p.92]

Alphaville's best moments tend to be its most deliberate and glammy. [Sep 2014, p.108]

Despite the obvious problems with continuity and flow (not to mention the general concept of time, as in the amount of actual time it takes to comb through 99 tracks), there's still a lot of good music on Occupy This Album.

The duo have crafted a disc that grafts underground rawness (garage rock, no wave, electro, classic '80s goth) to their taut dance grooves. [Sep 2004, p.140]