It's not bad, but it is slightly disappointing. [Jul 2013, p.102]

SMM proves that Jourgensen still breathes fire. But this time, he's incinerating you with a grin on his face. [May 2016, p.82]

The result is a heavy batch of driving tunes worthy of each member's origin stories. [Feb 2017, p.80]

This long-awaited unveiling isn’t the easiest of listens, with consistently busy-sounding fare ranging from the manic, laser show hyperactive (“We’d Kill Each Other,” “I Need A Parasite”) all the way to slower and sultry new romantic nods (“Springtime Of Our New Love,” which could actually pass for the ’80s uncle to Glassjaw’s “Ape Dos Mil”). But it is definitely fun, and absolutely well-done.

At their best, the churning rhythms, swirling synth and vocals suggest Animal Collective digging through a crate of DFA Records. [Mar 2014, p.94]

Despite its relative palatability, compared with their earlier work, this is a hard album to like--and that's what makes it good. [Jan 2003, p.102]

These four songs fulfill expectations for minimalist, rhythm-based deconstructions of genre. [Feb 2010, p.93]

There’s something special about the lyrical content that proves relatable yet poignant and beautiful all at the same time, resonating with listeners through the band’s unique ability to take basic, everyday ideas and turn them into an imaginative work of art.

What stands out is how Crocodiles have lightened up, embracing everything from grrrl-group alt pop to deliciously spacey new wave. [Jul 2012, p.90]

While Get Your Heart On! might not be the true return to form the band envisioned, it's ultimately worth the wait. [Jul 2011, p.105]

Always harmonious and sometimes frantic, the songs on R.E.V.O. have an uplifting feel--perfect for a band who encourage people to listen to the music and forget their problems.

Aside from a few dud lyrics--rhyming "ointment" with "appointment"--Wreckorder is a worthy debut. [Nov 2010, p.112]

Makes you scratch your head as much as nod it. [Dec 2004, p.162]

Your ears may start to ache a little, but it also makes the album's eventual deliverance all the more divine.

It's a bit unfortunate that the Irishmen decided to keep their songwriting and musical prowess stagnant. [Mar 2007, p.143]

Riskier but not totally out of character; it's the more holistic right brain to Wide Awake's rational left brain. [Feb 2005, p.81]

They weave simple, childlike melodies that slowly grow into full-blown opuses.... A surprisingly innovative album that sees them swimming forward instead of treading water. [#153, p.76]

Educational and motivational. [Jul 2003, p.126]

While the album certainly is a lot of fun, it may turn off fans who have come to expect moody electronica from the Hartnolls. [Oct 2001, p.98]

Better partiers than preachers, these Peas have found their pod. [Sep 2003, p.118]

A career-arching centerpiece. [Nov 2004, p.154]

This is crushing, calculated and catchy, light years beyond the three-chord snarling if Dalle's past. [Jul 2009, p.130]

Mando Diao's balance of updated pop smarts, slick production and stylish vitriol is a winning one. [May 2007, p.159]

Nuanced, sophisticated pop somewhere between Ben Folds and Spain. [Oct 2005, p.168]

All That Remains maintain the progression demostrated on 2006's "The Fall Of ideals," further exploring metal taboos like hooks and melody. [Oct 2008, p.156]

Every band represented on For The Lions are hardcore legends, and Hatebreed do their songs justice--they just don''t deliver anything in the way of innovation. [Jun 2009, p.104]

It's ain't perfect, with some primitive playing popping up at inopportune times. But if you're after a soundtrack for these late summer months, look no further than Lost Control. [Sep 2013, p.88]

Seamlessly picks up right where 2003's Transatlanticism left off. [Nov 2005, p.208]