Face Tat demands remarkable attention from its listeners; if only Hill would have challenged himself as much during its creation. [Nov 2010, p.112]

Channels the spirits of no wave via clinks and clanks, doomy vocal chants, ominous tribal thumps, abstract guitar scraping and jarring haunted-forrest samples. [Mar 2004, p.110]

Pariah isn't without its merits, and diehard fans will likely find few flaws anywhere. But for the casual listener, the album might seems a little less "Of The Room" and a little more "Rent." [Jul 2009, p.126]

Undoubtedly his catchiest record so far. [Feb 2007, p.122]

Even if this Boat doesn't always stay afloat, Cook's eager-to-please melodic sensibilities can still get jaws a-smilin'. [Mar 2009, p.116]

A feel-good collection of (mostly) poppy songcraft. [Aug 2001, p.103]

Much of the album reflects a tension between melancholia and euphoria that sounds more like an epic battle between Fischerspooner's love for New Order and Pet Shop Boys--but with beefier, disco-fied beats. [May 2005, p.174]

The bulk of the album's 14 tracks find her playing it safe with a helium-voiced squeak reminiscent of (take your pick) Gwen Stefani, Santigold, Kate Bush or Cyndi Lauper. [Nov 2011, p.97]

Alternately maddening and enlightening. [Jun 2003, p.110]

Their fourth album, Right Thoughts, Right Words, Right Action is just as resolute as the title. [Sep 2013, p.88]

There's a bit more quiet time on this effort. [Nov 2004, p.149]

At times, Iwrestledabearonce could almost pass for In This Moment. Whether that's a compliment or not is your call. [Sep 2013, p.90]

Occasionally, Roderick gets in the way of himself and makes the proceedings more difficult than they should be. [Sep 2006, p.214]

Happy To You's charm does wear off in repeated listens, though, resulting in an album that's enjoyable, but far from life changing. [Apr 2012, p.96]

Chris Conley's metaphorical lyrics remain earnest enough, but because of studio trickery, his vocals sound annoyingly nasal. [Oct 2003, p.120]

The saccharine harmonies are still present on the title track; they're just augmented with more expansive arrangements that bring out a welcome new dimension to the band's sound. [Apr 2011, p.114]

Only the album-ending title track tones down the noise, and even then, it's about as restrained as early Husker Du. [May 2005, p.132]

Plays out like a sequel to BF5's last album... with one key element missing: humor. [May 2005, p.172]

Ultimately, the album's main fault is its resolute consistency, namely the fact that things basically run on one speed, and it gets repetitive quickly.

This heart-cleansing vulnerability renders much of Final Straw's latter half monotonous. [May 2004, p.96]

After four very similar albums, they seem to be in danger of painting themselves into a corner. [Jun 2003, p.93]

It's ain't perfect, with some primitive playing popping up at inopportune times. But if you're after a soundtrack for these late summer months, look no further than Lost Control. [Sep 2013, p.88]

Longtime Black Lips fans will notice a more polished production compared to past albums, but it also seems apparent that these boys have barely begun to scratch the surface when it comes to showing us what they've made of. [Nov 2007, p.170]

Young has a good chance at becoming a worthy replacement for the Postal Service; he just needs to monitor the ratio of sugar to substance on subsequent efforts. [Oct 2009, p.111]

There is a breadth of influence throughout, even if the energy level rarely falls below absurdly scorching and the sonic approach remains a fuzzy haze. [Apr 2008, p.150]

At times their odes to the long-gone era of '60s psychedelia get lost in their lofty ambitions. [Apr 2004, p.84]

Though there's little here to entice newcomers, fans should rejoice. [Mar 2002, p.77]

A precious orch-pop labyrinth that unfolds with sudden melodic left turns and zany shifts in dynamics and instrumentation. [Aug 2001, p.94]