Kylesa nods toward their feral past as choruses make muscular concessions to hardcore floor-punches. But other tracks are their artiest and dreamiest yet. [Nov/Dec 2010, p.96]

The Fire showcases an immense growth in both the band's songwriting and arrangements, proving that these scenes stalwarts are not about to rest on their laurels. [Nov/Dec 2010, p.98]

Instead of Meanderthal's rich sonics and expansive melodies, Torche about-faces into bracing, aggressive cuts like "Cast into Unknown" and "U.F.O." and even though "Out Again" delves into sludgy pop, it's done in such a lackadaisical fashion that's it;s clear that Brooks' heart is more in the faster, louder numbers. [Sep/Oct 2010, p.90]

For all of Recitiation's slow burners, ferocious cuts like "Pieces Of The Moon..." and Worm Heels..." go hard from start to finish, revisiting the band's hardcore roots. [Nov/Dec 2010, p.98]

Removed from the usual metal trappings to ride Imperfect Harmonies' lofty, trippy soundscapes, Tankian's lyrics carry surprising poetic weight. [Sep/Oct 2010, p.87]

Warp Riders staunchly maintains the stoner doom, chugging trash, and ruminating psychedelia that marked the four-piece's 2006 debut, Age Of Winters. Yet the boogie-rock feel of "Tres Brujas" and "Lawless Lands" diversifies their songs, recalling pre-Eliminator ZZ Top. [Jul/Aug 2010, p.88]

You can't too wrong when an albums starts with cowbell and kick-drum--and truth be told, you can't go too wrong with a Buckcherry album, period. [Jul/Aug 2010, p.88]

Like the classic horror movies that have inspired so much of Danzig's work, the new record delivers the thrills and chills that fans would hope for, and that Danzig, at his best, is so good at serving up. [Jul/Aug 2010, p.88]

Their third album takes the stylized blur of their previous LPs, and somehow finds new room for Circle Jerskian hooks, mid-tempo suckerpunches, and one Neurotic sludge workout. p[Jul/Aug 2010, p.90]

Sure, White Crosses is the most polished and pop-inflected album of Against Me!'s polarizing punk career--but underneath the studio sheen, the Butch Vig-produced disc also contains some of the band's best material to date. [Jul/Aug 2010, p.92]

At Night We Live represents an older, slightly sleazier, but still poetically earnest far. [May/Jun 2010, p.98]

Fifth album The Oracle is a much welcome return to form, at least in energy. Ten tracks, no ballads, no bullshit. [May/Jun 2010, p.95]

Rainbow is definitely Sanchez's show: His dreamy vocals give all the fantasy crap real human warmth. [May/Jun 2010, p.966]

On their fourth full-length and first on their own label, jazz-spazz-metal epileptics the Dillinger Escape Plan re-embrace the all-killer, no-filler attitude that made their earlier albums and EPs so simultaneously exhausting and exhilarating. [Mar/Apr 2010, p.88]

Whether Snakes For The Divine is the band's best album yet is open to debate, but it's certainly their biggest, burliest, and most devastating. [Mar/Apr 2010, p.90]

Perhaps sensing the imminent death of the album format, Zombie has thrown all caution to the wind.It's an approach he should have taken long ago. [Mar/Apr 2010, p.90]

It's melodic and Malevolent, a relentlessly good disc with an A.D.D. sufferer's list of pop-cultural obsessions ranging from Robocop to werewolves to Judas Priest. [May/Jun 2010, p.100]

While the album has its share of radio-friendly anthems like "A Lifeless Ordinary," the real standouts on the band's fourth full-length are the grittier, unexpected moments such as the sinisterly syncopated "Hysteria" or post-hard-core masterpiece "Disappear." [Mar/Apr 2010, p.90]

45 minutes of jagged, uneven music that includes sparks of urgent genius, and perhaps five or six seconds that border on legitimate transcendence. [Nov/Dec 2001, p.117]

As sonically beautiful an album as R.E.M. has made. [May/June 2001, p.114]

A crafty update of California pop, shot through with the insights and ravings of a sometimes-lonely desert mystic.... Still, the disciplined songs of Trouble occasionally scream "Warning! Career Rehabilitation in Progress." [May/June 2001, p.105]

Eve ultimately transcends dog-bait stereotypes with an evolving sense of style that finds her waxing rough and cool one minute and warmly grooving along to reggae the next... [May/June 2001, p.108]

Matthews finally takes a full-body plunge into the rock mainstream he'd only dipped a toe into before. [#4, p.105]

Standards is a mature work in the best sense, an example of a rock band--yes, a rock band--that has grown into its sound and is now relaxed enough to have fun with it. [#4, p.107]

Malkmus remains up to his usual trickery, packing the proceedings with musical plot twists like false starts, abrupt fades, and fake codas. [#4, p.106]

Probably the best indie drone rock since Galaxie 500 put the Velvets jangle to hypnotic use (although Low reach even greater peaks of elegant sublimity). [#4, p.106]

The Offspring's hit-making machinery is as efficiently well-oiled as ever. [#3, p.106]

Nearly perfectly formed, a confident showing of pristine, heartfelt songs that stand up alone and gain greater strength in the context of the full album, which ebbs and flows in a great purge of emotions. [#3, p.120]