Get lost in this stuff and you won't find your way back out. [No. 109, p.52]

There's a feeling of (relative) calm, with bouts of refined clarity to accompany the album's sage rage outbursts. [No. 109, p.52]

The record's two pieces are fields of rhythm that seem to pull away from your reach like a curtain blowing in a breeze, yet swing back to knock you on your ass. [No. 208, p.57]

3rd is somewhat overstuffed at 18 songs.... But it's still an ideal soundtrack for the dead of winter, when you're pining for pitchers and catcher to report, or when your team's out of the race by the dog days of August. [No. 108, p.54]

It's the sort of record today's 15-year-olds are going to feel embarrassed about owning five or six years from now. [No. 108, p.56]

It's unclear whether even Kotche really knows what's happening half of the time, but it's a delightfully puzzling ride nevertheless. [No. 108, p.55]

This LP does little to propel her anywhere near the ranks of the big-name women of contemporary pop/rock. [No. 108, p.61]

The Take Off is not all that remarkable the first few times around, but it nonetheless hints at rewarding repeat visits. [No. 108, p.55]

Not every song justifies Herring's bold imprimatur, but enough do to make them stand out in a catalog that wasn't wanting for impact tracks. [No. 108, p.55]

While it's a deeply cathartic break-up record, it's both personal and political. [No. 108, p.57]

Perhacs' light touch contrasts with the often heavy-handed lyrics. [No. 108, p.59]

It's his best album in years. [No. 108, p.59]

Well worth a listen. [No. 108, p.61]

Forcefield achieves a sound, which--despite the title--is all allure, no repellant. [No. 108, p.61]

He cranks up the palm-muted and Edge-delayed guitars for an eight-song chaser, that, again, miraculously never fades into stasis. [No. 108, p.61]

By no means is this debut original, but the hooks are sharp enough and the no-Frills, overdub-free presentation shreds hard enough that it doesn't really need to be. [No. 108, p.59]

It's not a pretty album, but it will evoke reaction on either side of the coin. [No. 108, p.59]

Their stinging, smart wordplay is dependably knotted and sneered, and even though it's difficult to separate their cadences, the collective passion present is undeniable. [No. 108, p.59]

It's when things slow down that Tare and Co.'s melodic intentions (and intensity) gets a better, clearer outing without losing their daring noisiness. [No. 108, p.58]

An enticing record emerges, boasting intricate instrumental latticework with the smoldering focus of slow jams. [No. 108, p.57]

Beyond often rings with the bumbling awkwardness of a band taking itself too seriously for the first time. [No. 108, p.55]

[A] consistently nourishing collection. [No. 108, p.53]

The band's flair for drama comes to the forefront on the "be My Baby"--quoting "Algiers" and intensely epic closer "These Sticks." [No. 108, p.53]

The melodies are arranged with a cinematic sweep that elevates small moments of self-doubt and heartache into something bigger and more universal. [No. 108, p.53]

The alterations and differences may be slighter and more comparable to alt-music's lexicon, but that's bound to happen after a decade and a half. Still, the redefinition continues, and so does the compelling art. [No. 108, p.51]

Daughter OF Everything fits neatly alongside recent work from guys like Mikal Cronin and Ty Segall, and untethered garage rock like this never goes out of style. [No. 107, p.61]

There was more to the melody of Unwound than just a few simple, catchy primitive riffs. [No. 107, p.61]

[The] only complaint is that the rest of the LP doesn't quite sustain the power of these two tracks ["Petrichor" and "Sharp Stones"]. [No. 107, p.55]