What's great about Strange Weather, Isn't It? is that it offers enough diversity to save you from making you own mastermix. [Sep 2010, p.108]

A diverse collection that often has a life force all its own. [Jun 2007, p.150]

It's a solid album in an impressive and varied discography. [May 2013, p.90]

Wait Barbarians is not an album for all moods and times of day. But for those calm, reflective moments that tend to arrive as dusk descends, this albums provides the ideal soundtrack. [Jul 2014, p.102]

These are songs worth letting your guard down for. [Aug 2013, p.94]

The music is mostly an interesting hybrid of unlikely elements and naggingly catchy tunes. [Jul 2005, p.186]

Sea Wolf's second effort, now realized by a more traditional band lineup brought together during a few years of touring behind his previous record, extends the reach of Church's pastoral folk sketches.

KMFDM rebound from the lukewarm MDFMK project pulsing and palpitating with a sense of urgency that proves this machine is not obsolete. [May 2002, p.88]

What you hear on Thickfreakness is no less faithful than what old black guys on porches on the Delta have churned out for the last hundred years. [June 2003, p.105]

Overall, it's what you'd expect from Incubus--and that isn't a bad thing. [Jan 2007, p.138]

What the Horrors do, they do well. [Jun 2007, p.148]

While Folie A Deux at times feels like the band are showing off the contents of their Rolodex, the album's standouts are so good that they will undoubtedly become standards for the band's live shows for years to come.

The real strength of The Inevitable Past Is The Future Forgotten is the album's inherent variance--and the fact that droning waltzes like "Days Of Wrath" are able to seamlessly co-exist with ambient experiments like "The Threshold" make the album sound like a complete musical statement instead of a genre exercise.

An organic burst of music and melody that is Matranga's best work yet. [Apr 2004, p.84]

The overall effect is of a 21-century Mighty Lemon Drops, but there's certainly something to be said for a Heaven comprised of such modest glories. [Jul 2012, p.100]

John Gourley gives the envelope a token push but lays back a little too much into his comfort zone; the rest of the band abet him with lucid and calm performances. [Aug 2011, p.118]

The Suburbs pulls back much of the meandering songwriting and garbled wall-of-sound production that marred most of Neon Bible; it's not perfect, but its moments of clarity make it worth the trip.

The Bronx III shouldn't be perceived as a misstep, because this band's growing pains have more character than the parade of desperate losers saddled with pay-to-play blues lined up in front of L.A.'s Roxy Theatre. [Dec 2008, p.129]

Some of Bury Me In My Rings lacks gravity, but Sennett finds emotional weight on acoustic "Jailbird" and album standout "Born To Love You." [Jun 2011, p.107]

While the album certainly is a lot of fun, it may turn off fans who have come to expect moody electronica from the Hartnolls. [Oct 2001, p.98]

Shines with a matured level of song composition. [Aug 2006, p.208]

Not only does Fite sing more than speak-rap, he doesn't push oddity so hard. [Apr 2012, p.92]

It's hard to be down on a record that deftly rocks this hard. [May 2012, p.85]

1372 Overton Park is a fresh progression for Lucero that still retains their unpretentious Southern Charm. [Nov 2009, p.110]

The band sounds best when going for the mainstream-pop jugular. [Nov 2011, p.98]

It is perhaps three songs too long, but A Wasteland companion is, nonetheless, a welcome return to form. [May 2012, p.85]

On his third solo album, Crow fully embraces his eclecticism. [Nov 2011, p.92]

Cut Copy may not hit the same cloud-bursting heights as a masterpiece like Primal Scream's Screamadelica did, but their attempt still provides devilish delights. [Dec 2013, p.94]