The most powerful, viscerally brutal album the quartet have released to date. [Sep 2001, p.100]

Every track on the Umea group's sixth album is a story onto itself. [Feb 2013, p.90]

This collection of songs finds the band both maturing nicely, and as close to flawless [as] they've ever been. [Oct 2015, p.94]

It's still loud, but he's trusting his songcraft and producing more sinister, elusive and substantial music. [Feb 2012, p.80]

Sykes’ increased vocal range also proves a formidable addition to their arsenal, coalescing with the expanded sonic palette for a more intimate, cohesive and engaging collection.

Go Plastic fuses the insanely intricate beat programming of Feed Me Weird Things and Daddy with the abstruse experimentation of 1998's Music is Rotted One Note. It's the best of both worlds. [Aug 2001, p.98]

Anxiety's Kiss is what Coliseum have been working towards all these years. [Jun 2015, p.97]

The Blackest Beautiful is a brutally stunning document full of soul and purpose. [Aug 2013, P.88]

What emerges by the halfway point of the title track is the sense that you're not listening to just another piano troubadour; you're hearing the oceanic confessions of an artist who in time will be considered one of the most affecting composers of this still young century. [Apr 2009, p.134]

Exuberant and energetic.

Even more devastation stems fro Iain Cook and Martin Doherty's sophisticated and catchy layers of synthesizers and vocal loops. [Oct 2013, p.82]

A nearly flawless album full of rocking pop songs that sound instantly timeless. [Oct 2005, p.156]

The more realized updates of [Her Majesty] that crowd out the backed of Picaresque reveal a wit so bizarre and vaudevillian beauty so ultimately endearing that by the end, Meloy's sprawling form of theatrical folk has us all. [Apr 2005, p.116]

Dissociation might be the final stop on this journey, but in 10 years, it's also the first thing we'll point to when people ask why these guys are still relevant.

Even though No Devolucion might draw the ire of fans who prefer moshing over meditation, the result is a record that's progressive and, believe it or not, downright beautiful. [May 2011, p.97]

The lofty expectations are met in full with Saturnalia. [Apr 2008, p.160]

Their colorful tapestry of indie/alt/emo inspiration is distilled far more subtly then before. [Oct 2013, p.84]

Repeat listens yield rich and profound rewards. [Mar 2009, p.104]

Consistently intriguing, haunting and above all, very good. [Dec 2001, p.94]

The Physical World is a triumphant statement that the two musicians have moved forward artistically. [Oct 2014, p.97]

As Minus The Bear stray further from the prickly, smartass math-rock of thier early days, the group seem focused on crafting the perfect album to launch them into another dimensuion entirely--and Omni, with its brainy intricacy and adventurous heart, may just be that spaceship. [Jun 2010, p.106]

The fast parts are faster, the hard parts are harder, and the melodic sections are more memorable. [Oct 2001, p.102]

Braid have delivered a record as nuanced, vitalizing and brilliant as anything in their already storied back catalog, reemerging as strong as any of the numerous bands that have popped up to critical notice in their wake.

On their self-titiled debut, there isn't a dud in the bunch. [Mar 2009, p.101]

When the dark, somber and damn loud refrains of 'Ego Death' kick in, it sounds like these guys could completely take over indie rock. [Nov 2009, p.106]

To call this "sunstroked desert hallucination mood music" sells it short. It actually transforms the atmosphere of the space in which it's played. [June 2008, p.132]

Bemis successfully came out of the other side on In Defense Of The Genre, producing an opus that musicians more than twice his age could only hope to create. [Dec 2007, p.185]

Prepare to be blown away.... Emotional Mugger is an out-of-this-world psychedelic venture meant to be listened to--and listened to very loud. [Feb 2016, p.98]