Gone are the Mary Poppins samples and the rest of the duo's anything-goes ethos; Breakfast is filled instead with Cap'n Crunch-y nuggets of pure, sweet, mainstream hip-hop. [Mar 2012, p.97]

The result is an urgent collection whose creative spark burns brightly. [Dec 2014, p.104]

While there are moments of buzzing, high-flying bliss on Githead's third LP, one can't escape the sensation of horizon-hugging deja vu. [Jan 2010, p.94]

Perhaps the strangest and most successful finale ever. [Nov 2003, p.116]

One of the most bizarre things ever released by Sub Pop. [#154, p.80]

An album full of songs so lethargic, it sounds like it needs a nap halfway through. [Apr 2002, p.71]

This smartly sequenced album casts a cumulative spell. [Oct 2005, p.156]

While there are some nice moments of orchestral pop here, that's hardly enough to carry an entire album. [Aug 2006, p.208]

A solid rock album that plays like the history of Great Britain's contributions to rock 'n' roll. [Mar 2015, p.92]

There are enough sparkly pop moments here to suggest Rooney could become, like the best Hollywood exports, a guilty pleasure. [Aug 2003, p.105]

Solid, creative, urgent albums like Coaster cement the fact that whenever someone gets around to opening a Punk Rock Hall Of Fame, NOFX should be in its inaugural clas. [Jun 2009, p97]

Sea Wolf's second effort, now realized by a more traditional band lineup brought together during a few years of touring behind his previous record, extends the reach of Church's pastoral folk sketches.

Their new EP, Middle States, is occasionally tedious, thanks to those meandering tendencies. [Jul 2011, p.106]

Tears On Tape doesn't reinvent the wheel, but within HIM's impressive canon, it's among their best. [May 2013, p.90]

The energy makes it feel like there's too much going on, leading to songs blending structurally, downplaying hooks.

Although the music and lyrical content are more mature, what hasn’t changed is the familiar empathetic thrill of Carabba’s songwriting.

The In Crowd haven't reinvented the wheel, but they've certainly made getting hit by it a little harder to dismiss. [Feb 2014, p.91]

With Our Endless War, the band have shown they have more than enough skills, and they finally have enough ideas; it's time for them to take the plunge, break through deathcore's confines, and become the band they could be.

The album maintains a brilliant balance between uplifting and confessional, playful and serious. It's the most real, honest and self-aware record FIR have released to date. [May 2017, p.80]

Shows LaValle exploring new and exciting sonic territory with mostly positive results. [Oct 2006, p.200]

Only the blindly in love will fully appreciate Suitcase, which is chock-full of bruised and blemished tracks, though it's not all throwaways. [#147, p.94]

While dissonant noise is the main component of the duo's slacker shoegaze, hidden beneath those layers of distortion are some moments of melody. [Jul 2014, p.102]

An intriguing album. [Jun 2006, p.178]

They’re successfully anthemic on “She Way Out,” like a nerdy, English version of the Gaslight Anthem. But when they try on modern, digitally glitchy production on “Menswear,” by contrast, it feels (ironically, given the track’s title) like they’re struggling in ill-fitting clothes.

The haunting tone unfurls itself further with every successive listen, making this an album worth returning to again and again. [June 2009, p.102]

What's great about Strange Weather, Isn't It? is that it offers enough diversity to save you from making you own mastermix. [Sep 2010, p.108]

Could pass for a set of lo-fi synth demos Sir Paul McCartney cooked up one long weekend for shits and giggles. [Feb 2006, p.130]

Scattershot and immediate, with every track sounding as if it came off the top of his head. [Oct 2001, p.99]