There's not a ton of new ground broken, but The Fire is proof that Senses Fail consistently toe the line between singing and screaming better than most of their peers. [Nov 2010, p.116]

The singer continues to exude a sophistication that raises the bar for aggressive rockers who can mature with both grace and continued relevance. [Nov 2011, p.93]

The minimalist musical compositions on Situation force the listener to focus on Buck 65's idiosyncratic ingenuity. [Dec 2007, p.187]

The problem with this kind of timeless rock 'n' roll is that every city in the U.S. has a band who have mnore or less mastered it. [Feb 2008, p.119]

As ever, Martsch prove capable of anthropomorphizing a bent string and imbuing it with more emotion than many bands' vocals and lyrics. [Dec 2009, p.112]

A slick, expertly crafted crossover plea that can't quite push Oakenfold past every other beat-happy producer out there. [Aug 2002, p.88]

When these Norwegians try to make more conventional haunted soul-diva stuff, it sounds rote by comparison.... But when they follow their own muses, they come up with genius tracks like "Remind Me." [Dec 2002, p.96]

Despite being almost numbingly consistent at times, it's his most self-indulgent Catholics album, and it could easily become a favorite of Black's long-time fans. [Oct 2002, p.77]

The Red Album is a wonderful jumping-off point for their second wind. [July 2008, p.145]

Acoustic without being folksy, poppy without being pandering, and quirky without being annoying. [Oct 2004, p.144]

Runners in the Nerved World serves as a transitional record for a band who continue to figure out who they are and what they want to be. [Feb 2015, p.92]

While longtime fans might chide the group for losing some of their quirkiness and streamlining their sound, the band's desire to push the boundaries should be commended. [Mar 2012, p.91]

It could have easily gone into darker, scarier narratives and/or sonic atmospheres but they shut it down at the near three-minute mark. Unnecessary brevity is a sticking point: Sea Of Cowards' 11 tracks run a little over 35 minutes.

Daybreaker is their best yet. [Jul 2012, p.90]

[Their] best album. [Nov 2005, p.224]

There's still dead air begging for Wedren to fill it--preferably with stronger melodies and more lingering turns of phrase--but until his old band reform and make a comeback album, Wand is well worth waving.

A renewed sense of purpose exudes from every song, with an abundance of electronics playing nicely with their roiling guitar rock. [Apr 2017, p.80]

Conduit proves that they still have that magic, albeit in a more hit-and-miss manner.

Ladyfinger (ne)'s second disc finds a sweet spot within the jagged, mathematical riffs to hide wellsprings of melody and harmony. [Apr 2009, p.132]

Even songs in White Lies' comfort zone--namely the brooding ballad "Change," which wears its Joy Division influences proudly--feels more confident. Only the cringe-inducing "First Time Caller," whose lyrics riff on the tired "first-time caller/long-time listener" radio phrase, truly drags down Big TV. [Sep 2013, p.94]

Riotously catchy pop songs that fall somewhere between boisterous pub anthems and artsy bursts of haphazard punk. [Jun 2006, p.190]

Mando Diao's balance of updated pop smarts, slick production and stylish vitriol is a winning one. [May 2007, p.159]

This quartet's latest work still bellows in and out with the urgency of a boxer's lungs, and new singer Arnold de Boer maintains a strident edge while adding a barely perceptible undercurrent of lightness. Missing is the low end. [Feb 2011, p.87]

Exquisitely crafted folk-pop minimalism that whispers with profundity and burrows deep into your heart. [July 2002, p.84]

It may not have the continuity or cohesive potency of a Document #8 or City Of Caterpillar, but it's a pleasant rage like few others coming out and, when necessary, clearly shouts what it wants to be heard.

They’re successfully anthemic on “She Way Out,” like a nerdy, English version of the Gaslight Anthem. But when they try on modern, digitally glitchy production on “Menswear,” by contrast, it feels (ironically, given the track’s title) like they’re struggling in ill-fitting clothes.

Matsson's third LP is a wide-eyed exercise in water testing, adding counterpoint and pathos to his road-worn sneer and elegiac melodies. [Jul 2012, p.100]

There’s a lot to appreciate, whether you like screamo, face-punching hardcore, pop-punk, or some combination of all those sounds and more.