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

The Southern-rock grit that used to make Band Of Horses spellbinding is in dangerously short supply, but there's nothing else there to replace it. [Oct 2012, p.84]

It's light, airy, soothing--and imminently forgettable. [Apr 2009, p.135]

There's some decent stuff in the second half. [Sep 2005, p.164]

Their newfound nods to pop music... overshadow the expected balls-out rockers. [Apr 2006, p.220]

Much of the disc is business as usual. [Oct 2007, p.169]

The 13 tracks here are improbably edgeless, all love-me-do/love-me-don't plaints that evaporate on impact. [Sep 2001, p.91]

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

Tennis offer a solid but unspectacular album by a band capable of great beauty but one who seem to struggle translating that into great songs.

Doesn't make many lasting impressions. [Jul 2005, p.182]

Mohager ultimately forgets there's a fine line between homage and aping, but if your dream gift is a time capsule from the Reagan Years get ready to discover your new favorite record. [Jul 2011, p.107]

This batch of cobbled-together love songs and lullabies makes for instantly likable pop regardless of its source material. [#155, p.77]

Herren's gift for finding order--and even melody--amid such chaos is too strong to allow this collection to be written off as self-indulgent. [Apr 2006, p.224]

This 18-song, one-hour compilation is a spawling, hit-or-miss affair. [Jan 2011, p.90]

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]

The disparate pieces of Melvins Lite don't quite line up. [Jul 2012, p.98]

But under the ill-fitting vocals, Deep Down & Dirty has some dubby, dark tracks that work if only because they don't try so hard to be "Connected" sequels. [Jul 2001, p.85]

There’s enough inventive, Jamaican-inspired music on Free The Universe to make it worth hearing--but here’s hoping Diplo keeps things Kingston-centric again next time around.

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

It's a shame that in those rare moments Lacuna Coil do stick out their necks, the results are the uninspired, tepid radio rock of Shalow Life's 'Unchained' and 'The Pain.' [Jun 2009, p.104]

Ellipse is balanced but doesn't break ground. Fans of her past work will likely find little to quarrel with, but they won't be challenged, either. [Sep 2009, p.105]

With primarily organic instrumentation and warm, low-fi production, nothing is forced--although in some instances, the tracks feel a little too barren, and overall there's not much to distinguish between the songs. [Sep 2009, p.108]

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

If you’re in the market for something sullen, you could do a lot worse. But if you’re yearning for any of what likely drew you to Moving Mountains in the first place, you probably need to hope it happens the next time around.

It's something they've done better before. [May 2007, p.158]

Ably backed by bassist Michael Cotterman (ex-the Loved Ones) and Andrew Black on drums, if there's any flaw to the Title Tracks formula, it would be that they could make a few moments more flawed. But that's just the Q And Not U fan talking.

There's no trace of the zany sass that made the Go-Go's an institution to begin with. [Jul 2001, p.68]

A perfectly pleasant background score for pasta-making, garden work, and other stuff 40-something yuppies waste their time on. Which makes it my definition of hell, actually. [Jul 2001, p.60]