Thankfully, Damage easily bests the previous two Jimmy Eat World full-lengths, and its high points rival those of Futures and Bleed American.

There Are Rules truly stands out in the members' collective catalogs as a completely unique entity, and one that should be viewed as nothing less than an absolutely stunning success. [Feb 2011, p.85]

They've retained some of the tighty wound post-punk angularity they've always favored and even bust a bit of old school punk, but the real advances are melodic. [Nov 2007, p.160]

There aren't many stronger Americans albums than Till Midnight. [Apr 2014, p.93]

Radio 4 evoke the Clash, Wire, Les Savy Fav and neo-new wave, jamming epileptic rhythms with chunks of white noise to get a restlessly eclectic sound. [Jun 2002, p.82]

The band still maintain their status as leaders. Frontman Jacob Bannon is physically incapable of phoning in his performances, and always ready to bring the fear. Kurt Ballou’s guitar work is a joy to experience, whether he's carpal tunneling through downstrokes, picking out lyrical phrases to frame Bannon's ominous moments (“Thousands Of Miles Between Us”) or bringing the straight-up noise like a hateful glass-bomb explosion ("Under Duress").

He rhymes like a champ. [Jun 2007, p.160]

The Quilt expertly stitches together art and commerce. Every song has an insistent hook, but despite the high-profile hip-hop guests, nothing feels calculated. [Oct 2008, p.162]

Besides boasting some of the band's most violent music to date, what makes The Powerless Rise such a stunning metal record is the band's commitment to vigrously kicking at their boundaries while remaining true to their sound. [Jun 2010, p.104]

Every moment on Dealer feels intentional, and as a result, gorgeous. [Nov 2015, p.96]

Melvins' 18th proper album is essentially classic rock for 2008--with the band's trademark abrasion. [Aug 2008, p.166]

overflowing with slick hooks and dynamic nuances, Twelve Years masterfully balances cathartic restraint and melodic aggression. [Jun 2012, p.80]

A rewarding art-pop risk. [Dec 2004, p.148]

While it may seem as if Geneva is all over the musical map, the opposite is acually true--the map's just been redrawn. [Nov 2009, p.114]

The Dillinger Escape Plan are far from dead and te sound they pioneered is only getting stronger. [Dec 2007, p.171]

[Whales And Leeches up its game] by being bigger, bolder, heavier, catchier and even more savagely fun.

Balancing a DIY mentality with a good ear for catch hooks, the Cool Kids have the ability to please both sides of the fence--which is exactly what the hip-hop world needs. [Aug 2008, p.174]

The album’s 10 songs are over and done in under 20 minutes. The impression they leave at the end of it all is huge.

Deadsy's mix of electronics, death-metal distortion and lugubrious vocals offers something magnificently alien, yet familiar. [Jun 2002, p.69]

While The Loud Wars is overflowing with extremely impressive musicianship, creative time shifts, and interesting instrumentation, it also has an inviting pop sensibility. [Jun 2009, p.99]

Grooves with uptight downtown funk that's not just for beat freaks. [May 2002, p.88]

This is crushing, calculated and catchy, light years beyond the three-chord snarling if Dalle's past. [Jul 2009, p.130]

Building on the intelligent, melodically inventive sounds showcased on 2013's Rescue & Restore, the quintet further distinguish themselves from the metalcore pack in a manner that seems effortless. [Jul 2015, p.96]

Misadventures is the stuff of time capsules, marvelously embodying everything important this musical subculture offers while enthusiastically transcending its limitations with authentic charms.

STD are as tight and melodically brilliant as ever, but the previous trilogy’s anguish and inner turmoil seem to have been replaced by warm sentimentality, declarations of undying love, and smart discourse on relationships and the human condition, with the occasional killer curveball.

This record neatly marries the attitude and energy first heard on Creatures with the industrial beats and vocals they love, making this record the truest representation of the band to date.

Auerbach moves flawlessly through all of his favorite frames of references. [Mar 2009, p.112]

A cohesive, 100-percent successful record. [Oct 2002, p.95]