Wait Barbarians is not an album for all moods and times of day. But for those calm, reflective moments that tend to arrive as dusk descends, this albums provides the ideal soundtrack. [Jul 2014, p.102]

It won’t satisfy the appetite of fans of the band that are salivating over the thought of a brand new album with Lindberg’s patented shout-sing back and leading the charge. But as a stopgap and look back at the band’s early years, Yesterdays is a rowdy Pennywise romp.

So it's not really that different, but it's still really good. [Mar 2017, p.82]

Together Fire and Water form one of the most breathtaking albums of the year. [Nov 2007, p.166]

Stellar. [May 2006, p.176]

Air build a soundtrack to the movie in your head that always eclectic and often lovely. [Nov 2009, p.106]

A feel-good collection of (mostly) poppy songcraft. [Aug 2001, p.103]

Embraced by trance, breakbeat, and house DJs alike, Maas has been heard in almost every sort of dance setting, so he's earned the right to his own compilation. [2/2001, p.85]

Overall, it's what you'd expect from Incubus--and that isn't a bad thing. [Jan 2007, p.138]

Although a bit more of that energy [on tracks like "Your Head Got Misplaced" and "Sick And Impatient"] would've been welcome, Youth is still a lush, inventive listen great for headphones--just not stage-diving.[Jul 2013, p.96]

[Their] best album. [Nov 2005, p.224]

The songs, though we've heard them many times before, take on a surprisingly fresh and delicate new identity. [Feb 2006, p.122]

There's hardly a stinker in the bunch. [Jul 2006, p.206]

[Travis have] set aside the drifting atmospherics iin favor of complex arrangements. [Dec 2003, p.154]

One-dimensional and full of tired tunes. [Sep 2002, p.81]

While World is simply a fun pop record at its core, the effort, time and most importantly, experience (gleaned both from the members' extracurricular projects and the near-decade they've been together) that went into its making clearly sets AAR apart from newer bands who keep attempting to capture this same sound with much less ambition.

Anxiety's songwriting is top-notch--substantial and precise, without sacrificing accessibility or originality. [Apr 2012, p.96]

Taking Back Sunday should be commended, not for just choosing not to rehash their older work, but for truly trying to branch out artistically--and succeeding most of the time. [May 2006, p.155]

Light We Made reveals a new sense of agency via Jon Simmons’ confident new vocal technique and experimentation with stronger electronic elements.

In Waves hits some high notes with solo-heavy scorchers, but bury them seven tracks deep is as dumbfounding as their guitar work is breathtaking. [Sep 2011, p.120]

A collection of crisp, melodic pop tunes that showcase not only his musical abilities, but his vocal skills as well. [Mar 2007, p.145]

It's nice Walla's doing his own thing, but it's also clear from Field Manual that in terms of his main band, credit has always been given where credit was due. [Mar 2008, p.141]

The album provides further evidence of Drozd's remarkable artistic growth since he took on a more active songwriting role starting with The Soft Bulletin. [Sep 2014, p.106]

Its sweeping cinematic scope and all-instrumental tracks recall the lushness of Orbital in their prime. [Oct 2002, p.86]

Masterfully crafted torch songs, coated with a thin layer of orchestral gloss and trip-hop beats that stand out as unique. [May 2001, p.64]

The sound is just as expected: sweaty, sexy and leaner than a Thanksgiving turkey. [May 2002, p.94]

With a deeper, more mature sound, Halfway sounds like the work of a producer in mid-career crisis making music inspired by the dancefloor, but not shackled to it. [12/2000, p.89]

It's wonderful stuff, partly because Shearwater's renditions are lovely enough to make you want to seek out the real things, and partly because, really, does anyone need another bloody cover? [Dec 2013, p.100]