It's all unabashedly bizarre, but that's what makes it good. [Apr 2009, p.142]

Tracks like "Terra Firma" evoke every new-age-groove cliche imaginable, from Gregorian chants to pan flutes to politely understated hip-hop beats. [#152, p.74]

What Worlds never does is cohere in any appreciable way, stomping all over its finer moments with another synth glitterbomb and burdensome bass drop. [Sep 2014, p.107]

What matters is that Everything Is Borrowed is enough of a triumph that despite all evidence to the contrary, you'll be convinced the world is indeed a beautiful place. [Dec 2008, p.153]

On Fever, it's all about the harmonized riffs and the high-flying melodies interlocking with the type of rhythmic thud that feels like it could move the earth--and the pop charts. [May 2010, p.104]

The mild vulgarity and cute arrogance put to such an innocent melody [in "Fool Like Me"] is the brand of sass for which Cobra Starship are best known. Unfortunately, these traits are desperately lacking from the rest of Night Shades.

Garbage were always futuristic, but this album proves they're still ahead of the curve. {Jun 2012, p.81]

The baby-making music never reaches above its already-set guidelines to become something truly special, preferring to explore already charted (and re-charted) territory. [Apr 2007, p.180]

The Cross of My Calking is far more spirited [than their last album], creating a univese somewhere between Primal Scream's Rolling Stones phase and the Mars Volta's brand of jam science, with an occasional Bo Diddley beat thrown in. [Jan 2008, p.129]

Longwave aren't so much groundbreakers as they are purveyors of haunting, earnest pop. [Apr 2003, p.80]

Between The Senses follows in the hallowed Brit-rock tradition of trembling vocals, chiming midtempo guitars and delicate lyrical sensibilities. [Oct 2002, p.80]

Records like this deliver atmosphere and little else, and most of Pelo's 10 tracks make a point of ending two minutes later than they logically should, but still, feel-good artsy pop has never felt bubblier or more confident. [#151, p.72]

There's little sign of life here, only gently unassuming arpeggios and blanketing softness. [Jan 2004, p.98]

The sample-based backing tracks, hard-hitting but plain, don't have much choice but to play second-best. [Jan 2002, p.74]

The biggest problem on Hellbilly Deluxe 2 is that the campy B-movie samples and song titles like "Jesus Frankenstein" and "Werewolf, Baby!" come across as juvenile and lame. [Mar 2010, p.98

It seems silly to declare Time To Die too well put together, but it's not always the shapest knife that gets the most use. [Oct 2009, p.110]

As exhausting as it is brilliant. [Dec 2005, p.202]

A hint of what Pet Shop Boys would sound like with guitars. [Apr 2003, p.72]

Fans will enjoy his latest installment of heartbreak set to piano. [Mar 2003, p.92]

Songs like "16.12" are so captivating, you'll barely notice they're over 10 minutes long. [Dec 2004, p.162]

A crooning Busdriver is frequently more intelligible, revealing his sense of humor and beauty. [Mar 2012, p.94]

Although it sounds pristine, Youth often drifts along aimlessly, mostly because of shapeless songwriting that stresses atmosphere and sound sculpting over structure. [Jan 2014, p.95]

The songs on Get Hurt do all the talking for him, loud and proud, crashing and bashing into the night, taking heartache and turning it into triumph. Pure rock ’n’ roll.

Thankfully, there's enough variation in tempo, nuance and arrangements to stave off monotony. [Oct 2012, p.92]

Their fourth effort is sabotaged by a weak second half spent on played-out '80s darkwave fascinations. [Nov 2012, p.94]

In all, it's easily their most ambitious--and praiseworthy--effort to date. [Apr 2012, p.92]

Grainger's vocals, however, hang a little harsh in the mix without the jagged musical edges around them. Still, the essential energy in his performance powers through the awkward spots, making the disc a welcome payoff to a dance-punk dream destroyed.

The stitched together samples, drum machine splatters, and foreboding synthesizers come across like the soundtrack to a particularly quick edited and terrifying lo-fi horror flick.