Seamless and sparkling. [Jan 2004, p.98]

What makes Fortress much more than just a chain mail-clad sweep-picking clinic is the band's ability to weave bold melodies into the album's thudering riffage. [Feb 2008, p.116]

It is shattering and completely heartfelt. Iero has made a grand statement with Parachutes that should not be overlooked.

These new hooks are just as sharp as you'd hope for. [Mar 2017, p.80]

Sometimes, the hype is right. [Jul 2007, p.170]

The only twang on the record is the sound of strings breaking as Jack attacks his guitar. [Sep 2001, p.104]

The rare sort of album that convinces you original music still exists. [Jan 2004, p.110]

Their music is tighter, sharper and aiming for the jugular in its first shot. In the simplest terms, the band crafted a record that fills the bigger venues they are sure to be playing now and in the future.

Fucked Up's pop sensibilities remain impressively omnipresent, validating the hype. [Jul 2011, p.107]

Like all the most memorable famous monsters, this beast has a soul. [Jul 2012, p.94]

There might be no other band working that so effortlessly transcends its myriad of influences, creating something authentically new, disturbing and beautiful. [Jul 2017, p.80]

Misadventures is the stuff of time capsules, marvelously embodying everything important this musical subculture offers while enthusiastically transcending its limitations with authentic charms.

You would need massive amounts of time on your hands in order to write, refine and record a debut album as thrilling as The Weird And Wonderful Marmozets.

Where the Tokyo-based quintet's heavier side might normally overshadow Thursday's more sensitively nuanced post-screamo, the transitions here are seemless. [Dec 2008, p.130]

The duo's brand of hip-hop sounds like a mind-meeting between Black Panther leader Huey P. Newton and pimped-out Bay Area rapper Too Short. [Oct 2001, p.91]

An astonishing collection... that should leave Case's peers eating a cloud of Nashville dust. [Apr 2006, p.204]

A raw portrait of a 20-something disenchanted with his city, his country and his life. [Feb 2005, p.81]

Listening to Portishead has always been like floating through a waking dream, but now the sleek edges have atrophied into a dusty chaos, and it's all the more beautiful and perfect for the change. [June 2008, p.136]

Didn't It Rain may be simplistic compared to its more eclectic and haunting predecessor ['Ghost Tropic'], but it evokes the world-weary tones of Neil Young's 1970 masterpiece After The Gold Rush. [Jun 2002, p.86]

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

This Detroit outfit have restrained their post-punk intentions somewhat, playing with more textured compositions rather than blunt assault of their earlier material. This proves to be the perfect swirling yet steady backdrop for frontman Joe Casey to spin his cheap beer-fueled freeform yarns of lost souls and tortured romantics. [Oct 2017, p.83]

This is a test

Feels a bit like Bob Dylan's Bringing It All Back Home--a record where bravery is found with volume. [Apr 2003, p.85]

An appreciation for the heart, humor and no-bullshit directness of the very best hip hop is all that's required. [May 2004, p.108]

There's something for everyone here. [Jul 2003, p.120]

I See You [reveals] a more mature sound, one where the songwriting is top-notch and the intertwining vocals are more polished and mesmerizing than ever. [Feb 2017, p.82]

The sextet take glitchy electronics, nerdy psychedelic rock and various forms of hip-hop to create a completely over-the-top concept album--and it works perfectly. [Dec 2006, p.208]

Walker has gone as far into the atmosphere as one can travel while still being earthbound. [Jul 2006, p.210]