Feast delivers the meal Waste fans expect. [May 2012, p.81]

Fan waiting for the true follow-up to 2001's Go Plastic may now warm their souls by the heat of his hard drive. [Jun 2012, p.84]

The record tends to fade into the background and become something so indistinct that it's forgettable, even after multiple listens.

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

The record is sophisticated. [Jun 2012, p.78]

Off! is ferocious and unforgiving. [Jun 2012, p.76]

Sonically, Knopf has never sounded more confident. [Jun 2012, p.82]

The more monotonous parts of the album fade into the background--but their use of dynamics and technical prowess makes Natural Experiments a success. [Feb 2012, p.80]

They're not doing anything they haven't done before, but the triumphant unpretentious anthems on The Power Within area as fun as metal gets. [May 2012, p.75]

While the positive vibe is admirable, there's just not much substantial to grab on to--and few songs linger after the album's over.

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

While some songs could benefit from a slight edit, Woods still feels complete--and essential. [Jun 2012, p.80]

Until Reptar develop their own voice, they have to keep making up for their derivative music with enthusiasm. [Jun 2012, p.82]

Its pattering Jamaican rhythms and Indian drones well matched to lyrics that ruminate on revolutions both political and personal. [Jun 2012, p.84]

[Often the album] leads to pleasant but forgettable songs, leaning toward Britpop.

Though not as striking as True Devotion, it still tugs earnestly at your heartstrings. [May 2012, p.85]

The sextet deliver delightfully, dingy, wholly impressible rawk. [May 2012, p.75]

All of this comes together to form a cohesive collection that flows effortlessly; without a doubt, it's one of the strongest guitar-rock records 2012 will yield. [May 2012, p.83]

For now, this stands as another good if inessential addition to their catalog-a phrase that, for better or worse, applies to the majority of their output.

While it may not achieve the same sort of emotional depth fellow math-rockers Foals have, it would still be wise to follow them in whatever they go. [May 2012, p.81]

Ultimately, the album's main fault is its resolute consistency, namely the fact that things basically run on one speed, and it gets repetitive quickly.

Blunderbuss has a special casualness to it, thanks to White surrounding himself with a coterie of Nashville locals able to take him where he wants to go. The destination in question may very well be back to the early '70s, where country- and blues-tinged crossover records captivated America's post-Vietnam psyche.

Wisely, the quartet avoid the well-trodden road of "epic" guitar rock to deliver textures loaded with lyrical guitar phrasings within over-modulated grit and distortion.

A must for electro geeks. [May 2012, p.81]

It's the band--and Sturgis--who make Slave To The Game the most impressive album to date from the most underrated band in deathcore. [May 2012, p.72]

It's all so accomplished, it somehow comes across as weirdly uplifting. [May 2012, p.77]

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

It is perhaps three songs too long, but A Wasteland companion is, nonetheless, a welcome return to form. [May 2012, p.85]