They are definitely good enough to keep fans of modern heavy music pleased with the genre's continued vitality. [Aug 2013, p.83]

The collaboration is far from perfect... but the players take plenty of risks, ultimately emerging with a new sense of discovery and a whiff of greatness. [Feb 2006, p.120]

Mentioning these ASG cats in the same breath as riff-rockers Torche or Queens Of The Stone Age is not only misleading, it might even be an understatment. [Jun 2013, p.92]

Jayne shrouds his more subversive content in Laughter's Fifth's tambourine-tapping, upbeat numbers. [May 2005, p.164]

This smartly sequenced album casts a cumulative spell. [Oct 2005, p.156]

The Connecticut-based band have truly outdone themselves. [Feb 2013, p.92]

What makes this disc so intriguing is its embracing of the latest electronic substrata within the context of chief songwriter Martin Gore's well-crafted pop tunes. [#155, p.67]

They've honed their craft to incorporate increased nuance alongside blunted force. [#153, p.83]

They hold their own with the noisy, angular and often bluesy rock found on Harmonic. [Jun 2012, p.82]

The obvious touchstones here are Gary Numan, Magazine, and Kraftwerk... [March 2001, p.73]

Only odd detours like a Russian oompah instrumental break the rhythm of the album; Rouen is an otherwise textured and engaging disc. [Nov 2005, p.222]

Celebration represent the Baltimore trio's arty fringe-rock obsessions in sleeker, more resonant forms. [Feb 2006, p.120]

Producer Dave Bottrill has molded Chiodos’ vision into a cohesive arc of power, finesse, quirks and accessibility in equal measures.

Goldfrapp’s skill at adopting and fully embodying different styles is what makes them distinctive, not necessarily one signature sound. If the album seems somewhat slight, it’s purposefully so: Head First is a love letter to the frothy, fleeting, but very vital joys of pop music.

A tour through three decades of sonic recalcitrance, Renegades is the genome map of seditious sound. [#151, p.90]

A bewitching fusion of orchestral prettiness and exploratory electronics. [Aug 2003, p.108]

Suicide Silence's third full-length maintains the visceral brutality that has characterized their output, even as it builds upon their unsettling strengths. [Aug 2011, p.120]

A miasma of retro cool. [Sep 2003, p.116]

Appealing on any level, this digs deeper than the studio albums to glimpse Smith's raw brilliance shining. [Mar 2016, p.99]

The album maintains a steady flow that allows melodic ideas and rhythms to melt into one another to create an intoxicating whole. [Feb 2013, p.92]

Despite these sawed-off edges, Nouns is an extremely accessible album. [June 2008, p.135]

Wig Out is full of so much life and melody that it stands as a refreshing alternative to the increasingly homogenous state of indie rock. [Feb 2014, p.91]

O finds Tilly And The Wall perfecting the art of looking at the world through rose-colored glasses--without losing their inherent sweetness or zest for music's restorative qualities. [July 2008, p.150]

The real enjoyment of any Girl Talk album stems from picking out the first hint of a song, mentally scanning your iTunes and figuring out what it is in time to fully enjoy it before it's gone. Or, you could also just stop thinking and enjoy all of it.

This self-titled is a true beauty. [Jan 2013, p.84]

Is The Is Are nails all of nostalgia's sonic signifiers, without any of the retrograde guilt. [Mar 2016, p.100]

If it’s a retread you want, American Beauty/American Psycho isn’t for you. Because it’s the sound of a band boldly challenging themselves and their fans to let the past be just that, while embracing the weirdness and uncertainty of the new and the next.

The fantastic Ghostory actually sounds more realized than their previous two full-lengths. [Mar 2012, p.98]