Mescaleros Martin Slattery and Scott Shields have yielded a remarkably cohesive set of songs with arrangements that Strummer would have approved of. [Dec 2003, p.135]

What we're left is all the brutality of High On Fire's previous work, but with a razor-edged focus. [May 2012, p.79]

Full of beautifully manicured pop that's often atmospheric and always dramatic, though it certainly wouldn't have hurt to toss in a few truly memorable choruses. [Jun 2005, p.164]

The Fall rock with scalding fury, as if it were 1981 again. [Aug 2004, p.116]

This disc is actually a better recap of the Yo team's past than last year's triple-disc best-of collection. [Nov 2006, p.190]

It's what fans have long been hoping for: an alum fill of catchy sing-alongs with substance. [Nov 2011, p.94]

Wrongdoers might surpass its predecessor in heaviness, emotion, mood and pure adrenalin. [Sep 2013, p.86]

Fucked Up aren't the easiest band to like, but they're worth the effort. [Nov 2008, p.156]

With Crimes, the Bloods have built the sturdiest bridge between the hardcore underground and indie-rock elitists. [Nov 2004, p.144]

It might have sucked the first time you went through [the year between high school and college], but here, it couldn't sound better. [Mar 2009, p.113]

A devastatingly beautiful collection of songs, and in some circles, it could be the best album released this year. [May 2005, p.124]

All beautifully realized, the kind of album critics say they love and then file far, far away. [Jul 2003, p.113]

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

Nearly 30 years into their career, this is one of their hardest and heaviest albums. For younger death-metal bands, the message is clear: "Wait 'til your father gets home." [Apr 2017, p.82]

These guys sound like they don't even understand why punks and classic rockers drink at separate bars. [Nov 2006, p.198]

The beating heart of Newsom's tales, at turns whimsical and melancholic, enchant with a simple calculus: A woman, a harp and a story to tell. [Dec 2006, p.190]

There's no absence of strong material here, although the sequencing feels awkward. [Oct 2002, p.94]

He's singing, not screaming, and the music is genuinely beautiful in a haunted, intensely withdrawn sort of way. [May 2017, p.82]

If you fancy darkness, BDM have upgraded their harrowing sound to embody the concept completely. Tracks like “Matriarch” will remind you what got you into melodic death metal in the first place, while “Jars” and “As Good As Dead” put the band’s diverse influences on display.

Hone[s] his twangy, hip-hop Americana to pitchfork sharpness. [Jan 2005, p.114]

His fourth album, This Is Our Science, proves the MC is equally as adept at improvisational freestyles as he is at crafting hooks that will stay lodged in your lobes indefinitely.

This is a dazzling and haunting disc. [Aug 2002, p.74]

An enthralling emotional powerhouse propped up by fantastic post-punk that rips your head off and then gently sews it back in place. [Apr 2003, p.74]

Kaputt expresses equal slyness via gratiutious saxophone and trumpet solos. [Feb 2011, p.87]

Where Music flowed with a pastoral warmth, Geogaddi feels colder and more mortal, bound to the tension between its upper and lower registers. [May 2002, p.78]

On Hearts, riffs exist in cutting words and soulful guitar lines, not glittery axe solos; and every intricately timed punch to the throat is mastery. [Feb 2003, p.64]

These six songs are louder, faster and heavier than the first EP. [Jun 2014, p.105]

On their eighth album, the breadth of Godflesh’s influences are wider than ever, and their capacity for psychological excavation runs deeper.