The Messenger delivers. [Mar 2013, p.92]

Force Field makes good on being more than just a referential record. [Apr 2014, p.93]

The sprawl of such tracks will take some listens to process, but the incentive is the band's melodic sense, undiminished from their early days, and sometimes immediately sublime. [Mar 2014, p.88]

The ladies aren't ready to carry an album by themselves. [Oct 2004, p.146]

They've never sounded so confident and comfortable, if maybe a bit tired. [Jun 2002, p.80]

Coheed's fourth album simply doesn't deliver on the suspense that's been loaded into it. [Nov 2007, p.155]

When Bayside's Anthony Raneri pops up on "Texas Mickey," it's just the cherry on top of yet another consistently great Silverstein record. [May 2011, p.96]

For now, it just comes off like an unnecessary retreat.

Bull drags on with minimal memorable hooks and far too much guitar feedback. [Jun 2012, p.76]

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

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]

The sound is closer to the Boss' Nebraska--as Will Oldham would have done it--haunting, reflective and drowning in sorrow. [Oct 2006, p.200]

Admittedly, this kinder, gentler Half Japanese lack the shambling brilliance of earlier incarnations, but, hey, we all lose a step with age. [#155, p.76]

While The Menace isn't as coruscating as Primal Scream's funk-noise plasma wall, Exterminator, it does offer enough twists, turns and fractured sensibilities to make listening to music an active experience again. [#146, p.88]

The abundance of derivative electronic tricks diminishes Beautiful's successful updates of Garbage's sound. [Nov 2001, p.73]

Hi-Fi are catchier this time around, continuing to trip through their songs with the joy of a teenager who just learned the chord change from "Smells Like Teen Spirit." [Apr 2003, p.72]

Once the chuckle factor (unavoidable with kitsch) wears off, Pizzicato Five are guilt-free--non-rockist, non-tech-head--perfect 2000-01 listening. [Jan. 2001, p.98]

There's enough classic songcraft here to ensure Forgetting isn't forgotten. [Mar 2012, p.97]

In the case of the Used's fifth proper LP, the exact opposite could be said--we hear too many singles. Or would-be singles, that is. [Apr 2012, p.89]

Regardless of one's opinion on music that drawls, Changing Horses is worth your attention. [Mar 2009, p.106]

Powerful riffs and jangly choruses propel everything in between. [Mar 2012, p.94]

The Quilt expertly stitches together art and commerce. Every song has an insistent hook, but despite the high-profile hip-hop guests, nothing feels calculated. [Oct 2008, p.162]

The Empyrean ultimately proves that if things don't work out with his main gig, Frusciante as a healthy, slap bass-free career ahead. [Apr 2009, p.140]

The Southern-rock grit that used to make Band Of Horses spellbinding is in dangerously short supply, but there's nothing else there to replace it. [Oct 2012, p.84]

It's light, airy, soothing--and imminently forgettable. [Apr 2009, p.135]

It's clear that the Trail Of Dead we once knew no longer exists. [Jan 2007, p.139]

There's some decent stuff in the second half. [Sep 2005, p.164]

Their newfound nods to pop music... overshadow the expected balls-out rockers. [Apr 2006, p.220]