The album seems resigned, defeated, passive -- like an hour-long sigh. [#17, p.130]

It's Twin Cinema's relative melancholy that makes it the band's best album yet. [Sep 2005, p.134]

New Moon sounds less like a pile of outtakes than an official album released in a parallel universe.

The Drift is like a nightmare you look forward to repeating. [Jun 2006, p.148]

Another assault of angular, Sonic Youth-style guitar and earnest anger that's more leftfield than most punk, and more engaging than many of their post-rock peers. [Feb/Mar 2002, p.110]

Without much international color or guest flourish. [Nov 2003, p.122]

The album is wonderfully cohesive. [May 2005, p.119]

Sounds like a greatest hits set. [Dec 2005, p.156]

The mood is unsettling, exhausted and energetic at the same time. [Oct 2004, p.120]

Lanegan has finally produced his long-threatened masterpiece. [Oct 2004, p.125]

This trip is an easy, late-summer cruise. [Oct 2006, p.142]

Here, they combine hardcore punk’s combat-boot side with its tortured-noise side, layering what sounds like scores of tsunami-distortion guitars over an atomic-speed drum blitz to attain rarely witnessed levels of obliteration (think Black Flag reincarnated as psychotic yetis).

Strangely compelling. [Nov 2004, p.129]

Feuled by a ninth-grader's nausea they refuse to grow out of, they take their skateboards and chase down the horizon. [Mar 2009, p.64]

[Finn] tells better stories than anyone else in music these days. [Oct 2006, p.131]

The emotional peaks are so sharp, the wordplay so juicy, that all excesses are redeemed.

Their most violently inventive album yet. [Nov 2003, p.109]

Lambert has a strong voice, if not an exceptionally pretty one, and it suits her badass hell-raising much better than it does quiet laments like "Desperation." [May 2007, p.107]

S-K swagger like they never have before, eschewing the filler that made their last few records drag. [#9, p.157]

Buck ingeniously borrows from dub, metal and country to capture his characters' woozy worlds. [Mar 2005, p.137]

A gentle, reflective and often gorgeous album. [Nov 2005, p.132]

Their most sure-footedly solemn performances to date. [Nov 2003, p.114]

Utterly entrancing. [Jun/Jul 2002, p.104]

The songs on Fever to Tell swerve like they're being followed by the police, constantly changing and transforming. [May 2003, p.124]

With the groundbreaking stab at emo self-analysis, Cursive deserve at least a boost out of the emo ghetto. [Apr 2003, p.122]

It's conceptually daring, but beyond a few ecstatic moments... the sound is familiarly Bjorkish. [Oct 2004, p.113]

It may not hold the attention of anyone who's been out of diapers more than five years. [#8, p.124]

The result approaches sublimity, but remains geared toward dance floors. [#13, p.96]