The infectious All Or Nothing takes all the right things about their debut and improves on them. {Oct 2008, p.161]

For a band who ultimately decided to soldier on, the album can feel unbalanced, but still delivers all the belting feel-good choruses that made you fall in love with the Arizona crew back in 2009. [Mar 2016, p.100]

It's clever, literate and pretty, but also boring as hell if you don't flip off the lights, clamp on your headphones and concentrate. [May 2002, p.88]

Most songs keep to a more humble pace, unfurling slowly and often with surprising beauty. [Aug 2012, p.86]

Think the Postal Service, but with more instrumentation and experimentation. [Feb 2005, p.94]

Sure, this sound has been kicking around in various forms since the early 2000s Drive-Thru and Vagrant Records eras. But rarely has it been done so well.

Mostly it works. [Mar 2009, p.113]

Spoon deliver everything with a calm, classy Motown-pop feel, but the disc still crackles with punk intensity... [#154, p.97]

Unbelievably catchy hipster synth-rock. [Sep 2004, p.136]

There's more energy on Um, Uh Oh than in Say Hi's entire back catalog, creating wonderful tension with the songs' downcast sentiments. [Feb 2011, p.89]

Thinking-person's Britpop. [Oct 2005, p.166]

[They] still fuse rock with techno with more nonchalant poise than nearly anybody else, but they've also crafted some of their most gorgeous tunes here. [Mar 2007, p.137]

While these songs are closer the band's beer-in-the-air beginnings, greater sophistication and songcraft are evident from the crisp melodies and infectious choruses to earworm anthems with direct, bumper-sticker sentiments. [Feb 2013, p.88]

Central Market could prove to some that contemporary classical music can be more epic than post-rock, more dangerous than metal, and have more to say than the most verbose MC-even if most of his songs don't have any words.

It's impeccably crafted with a rich selection of subtle sonic touches--executive producer Butch Walker's undoubtedly due some credit--for bringing the songs to life. [Feb 2011, p.87]

It's proof the evil genius remains a damned fine chef. [Feb 2005, p.94]

Dense, chaotic and ugly, every track challenges the listener to make it through the stormof noise in one piece, refusing to do anything the "easy" way. [Aug 2013, p.84]

Their best record in years. [Apr 2006, p.218]

He further hones his flamboyant jazz chops while elevating his melodic and rocking abilties to new heights. [Jan 2008, p.131]

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

It comes was a welcome surprise that their sixth full-length contains the most visceral, overtly hostile and sinister music of their career. [May 2010, p.102]

From Death To Destiny also features a better Avenged Sevenfold song than that band's ever written in "White Line Fever," and some genuinely affecting strings on “Run Free.” Even if Worsnop refuses to grow up, his bandmates seem to be trying.

Warm acoustic guitars and spookily ethereal vocals add up to understated soundtrack music for a road trip through the Scottish countryside. [Jan 2007, p.134]

The freakiest freak-folk is rarely as freakish as the more disorienting triumphs of Strawberry Jam, a neo-psychedelic mind-fuck from Animal Collective. [Oct 2007, p.160]

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

Sonically, there’s something incredibly otherworldy and fantastical rooted in Phantom Anthem, making the album translate like an epic poem rather than a collection of songs, both enticing for its cohesion and at times tedious in its redundancy.

Arguably their best effort since jumping to the majors... Golden Lies hums with chunky metal chords, suspicious scents of Beatlesque psychedelia and wah-pedal freakiness. [12/2000, p.102]

If Magnificent City is occasionally over-friendly-sounding... well, so what? [Mar 2006, p.138]