The hooks aren't quite as memorable as last time, and Elvis Baskette's production at times make the band sound like faceless radio rock--but the disc ultimately might soon find TFT making good on their arena-rock aspirations. [Jul 2011, p.112]

A sobering reminder of how frustrating it can be when a talented group become tethered to their established aesthetic. [Feb 2007, p.118]

It's the type of record you rock before bedtime, and that by no means is an insult. [Jul 2007, p.184]

The songs have the urgency and vitriol we've come to expect from the band, but there's one major problem: the spit shine production. [Jul 2004, p.128]

It's a decent disc that'll simultaneously satisfy your cravings for pop music and the avant-garde. [Dec 2008, p.153]

About as riveting as a glass of water. [Jun 2004, p.97]

He seems hell-bent on sabotaging his amiable, acoustic-guitar-based songs with the sort of distortion and static that drive most engineers up the soundproofed wall. [Jan 2005, p.114]

More power to those who can do it, but from this perspective, it's nearly impossible to enjoy Man Man's Six Demon Bag while sober. [Apr 2006, p.222]

The music you'd imagine might play as you ascend to heaven--or the soundtrack to the WB's next teen drama. [Aug 2004, p.118]

While dissonant noise is the main component of the duo's slacker shoegaze, hidden beneath those layers of distortion are some moments of melody. [Jul 2014, p.102]

Being lacks enough urgency to sustain nearly 38 full-throttle minutes and becomes an analogy for the unvarying capitalization on its record sleeve.

It makes for a fairly entertaining show if you're willing to put down your hot wings for a second to sep outside to watch. [Nov 2008, p.162]

God Says No is the sound of a band heading toward the charts, full-speed.... This is a disappointing record for longitme fans; maybe new ears will dig it. [#153, p.81]

Mostly stuck in a low gear. [Dec 2003, p.156]

Pleasant but edgeless. [Jun 2007, p.149]

The two sides of their musical personality aren't in balance, but it doesn't make this album any less fun or rocking. [Feb 2014, p.92]

Although a bit more of that energy [on tracks like "Your Head Got Misplaced" and "Sick And Impatient"] would've been welcome, Youth is still a lush, inventive listen great for headphones--just not stage-diving.[Jul 2013, p.96]

It's uncomplicated, catchy fun, the equivalent of 21st-century hair metal-and that's meant as a compliment.

The net effect is unsettling distance, not pointed commentary. [Apor 2009, p.134]

Raditude seems intent on establishing itself as a now album, sacrificing any sort of cohesive vibe for a pop-friendly disc designed for car stereos to be turned to 11.

Admittedly, this kinder, gentler Half Japanese lack the shambling brilliance of earlier incarnations, but, hey, we all lose a step with age. [#155, p.76]

Sonic Nurse is better than 90 percent of new rock, but with younger combos like Lightning Bolt and Liars stealing their thunder, these well-meaning vets come off as old and in the way. [Jul 2004, p.134]

Like Creeper's previous albums, Take Back The Universe is a delicate piece of criss-crossing jangles and loose-limbed riffs, but the shimmery sprawl never coalesces into anything concrete. [#154, p.73]

Most of Maritime's debut feels incredibly boxed in. [Aug 2004, p.106]

On the whole, the songs are more tuneful and airy and less spastic than previous riot-on-the-stage efforts. [Mar 2007, p.143]

An ambitious record that pays skillful tribute to teachers like Pink Floyd, but shows off its ambition too much. [Nov 2001, p.94]

Costello clutters many fine compositions with kitchen-sink arrangements and cacophonous production that bring into focus how sorely missed estranged Attractions bassist Bruce Thomas is throughout. [Jun 2002, p.75]

brakesbrakesbrakes are as eclectic (musically) and clever (lyrically) as ever on their third album. [June 2009, p.98]