Unsurprisingly, he's at his best when he's melding heartfelt lyrics with otherworldly noise. [Sep 2006, p.230]

There's enough classic songcraft here to ensure Forgetting isn't forgotten. [Mar 2012, p.97]

It's not for a lack of experimentation on Collet's part that Rat foregoes any sort of bar raing. It's still a solid forging of '70s-rock gruff. [Apr 2010, p.122]

The only thing missing is Gibbard's unique voice--well, that, and the solid songwriting that made the Postal Service's Give Up a classic, rather than just a pleasant listen. [Mar 2005, p.122]

Mountaintops is still well-crafted (if overwrought), but lacks the punch that'll make you sit up and take notice. [Oct 2011, p.109]

In Many ways, No Age have successfully distilled the pop essence of early-90s Sonic Youth: no mean feat, just not as memorable as last time. [Oct 2010, p.116]

Momento Mori is a good album, with the awesome 'Set Apart This Dream' and 'Again' shining with their anthemic choruses and deft use of pop melody. The tragedy is that it could have been great. [Dec 2009, p.108]

Most of the songs... aren't nearly as interesting as the album's title, offering only random snippets of truly engaging music. [Sep 2005, p.156]

It all combines for an enjoyable listen... provided you block out the lyrics. [#146, p.102]

There's nothing about Robert Sledge and Darren Jessee's performance on Life that will make you realize you're listening to Ben Folds Five. Still, a few songs are gems. [Oct 2012, p.84]

Their uncalculated sound puts them a step above their shamelessly careerist peers like the Von Bondies. [Jul 2005, p.182]

The pieces don't always fit comfortably together, but the picture remains remarkable. [Jul 2013, p.102]

Cruel World's glitchy electronic sound, reminiscent of his solo work on Anticon, sometimes makes it hard to tell there's a band involved. [Aug 2011, p.122]

One can only wonder how Sinners Never Sleep would have fared had it been more consistent. [Nov 2011, p.98]

Sweet and insubstantial. [Nov 2004, p.140]

If you're confused and bewildered by Power, you're probably not alone. [Dec 2004, p.146]

The anthems still have Morrissey and Marr in their DNA, but they pout more than they roar. [Sep 2014, p.108]

Li(f)e's musical concept is great, but he's been better on the mic. [Jun 2010, p.105]

Instead of cleverness, the polished songs indulge here sentimental broken heart. Bandmate M. Ward is mostly content to stay out of the way vocally, but he builds up a castle of retro-instrumental heartbreak for Deschanel. [Jun 2013, p.102]

Granted, the Offspring have always dabbled in lyrical goofiness, but on Splinter, this approach seeps into the music as well. [Jan 2004, p.93]

The riff-roaring arena anthems "Racon Eyes" and "The Firebird" are among the most infectious tracks Priestess have ever written. Elsewhere, the band's retro-fuzz machinations don't fare so well. [Mar 2010, p.98]

Without the usual suspects, The Slow Wonder just seems like a well-produced demo of songs he's readying for Electric Version's follow-up. [Aug 2004, p.116]

The tunes are instantly likeable.... What's missing are the immediate hooks that today's competitors from Katy Perry to Marina And The Diamonds, use to claim Madonna's now-vacant throne. [Jul 2014, p.98]

Distractingly crowded soundscapes throb like an all-night rave, leaving you too exhausted and battered to pay attention to the words, a major deficiency for a hip-hop album.

Pleasant as the diversity is, the finished products are what you'd get from any modern tribute album. [Sep 2012, p.94]

Sleep Forever is a fine album, but you get the sense that if the band focused on their pop sensibilities as much as they do their more seemingly aesthetic inclinations, it would have been a great album.

Dumb Luck is likely to appeal more to the indie-rock crowd than electronica purists. [Jun 2007, p.161]

The album is a success because it shows sophistication and growth. [Apr 2014, p.94]