Easily one of the best debuts of 2012-or 2022, for that matter.

The album as a whole is multifaceted and full of variety, but always locked tight into a sound Yukon Blonde have perfected: punchy pop, straight up. [Apr 2012, p.99]

With Wreck, established fans have great reason to maintain their faith, while newbies may well have just found their new favorite band.

These shifting dynamics increase the record's overall potency, and while it makes an abrasive mark on first exposure, it grows more and more absorbing with each successive listen, making Black Breath one of premier heavy bands to be watching in 2012.

Pierce's vocals and playing reach higher and push farther forward than they did on previous albums. [Apr 2012, p.98]

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

Rot Gut, Domestic's melodies are still strong, but Edward's world-weary tenor to the bedeviled characters and prickly distortion, anxiety rules. [Apr 2012, p.96]

The trouble is, not much sets this new album apart from their career benchmarks, like 2002's Nothing or 1998's Chaosphere.

Power and passion haven't sounded this vibrant in a while.

Xerxes debut LP is a solid take on the burgeoning Pg.99/Modern Life Is War hybrid. [Apr 2012, p.99]

The songs of whiskey drinking, pretty girls and heartbreak are certainly Lucero's bread and butter, but stacked up against their back catalog, Women & Work plays it just a little too safe.

The songs are good, if a tad bit faceless. [Apr 2012, p.99]

Threads is compelling. [Apr 2012, p.98]

The result is an album that's equally pissed and poised. [Apr 2012, p.92]

Pure bubblegum, but with an often-faded flavor. [Apr 2012, p.98]

Challenging it's not, but its low-key loveliness makes it great for dinner parties where the company is almost as cool as Mercer's pre-Port track record. [Apr 2012, p.98]

Happy To You's charm does wear off in repeated listens, though, resulting in an album that's enjoyable, but far from life changing. [Apr 2012, p.96]

Not only does Fite sing more than speak-rap, he doesn't push oddity so hard. [Apr 2012, p.92]

The bulk of the album's 14 tracks find her playing it safe with a helium-voiced squeak reminiscent of (take your pick) Gwen Stefani, Santigold, Kate Bush or Cyndi Lauper. [Nov 2011, p.97]

The dozen tracks crackle with the energy of post-millennial British rock and the hook-lined swoon of the late-'80s British post-wave. [Sep 2011, p.120]

Unlike on Say Anything, though, DuPree-Bemis' presence this time around feels less shoehorned in, helping contribute to a loose, lively, fun record.

All that keeps Zoo from being a perfect record is the nagging feeling that Ceremony has even better work ahead. [Apr 2012, p.90]

Once you assimilate to his timbre, the earworm hooks and easygoing drive of Giant Orange will be a welcome salve to the wounded spirit. [Mar 2012, p.94]

A set track list and a few new tunes....[creates] a more well-rounded picture of the band than last year's smorgasbord. [Apr 2012, p.92]

The 15 songs here chart a typical course through the American songbook, with paradoxically straight-faced camp, morose show tunes and orchestral chamber pop without the aid of an actual orchestra. [Apr 2012, p.96]

Much of ex-Lives is encumbered by well-trodden ground turned muddy and attempts at atmosphere. [Apr 2012, p.96]

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]

Disappointing--and worse yet, faceless. [Apr 2012, p.99]