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]

Sadly, the electro-plated Evil Heat is neither evil nor particularly molten. [Jan 2003, p.99]

Dominated by sparse instrumentation and lyrics that are merely good... relatively lifeless tunes. [12/2000, p.115]

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

Although memorable hooks are few and far between... there's no denying the album's ferocity. [Mar 2005, p.132]

The Church's languid melancholy sedates rather than seduces. [Feb 2004, p.88]

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

Bland and undistinguished. [Aug 2005, p.178]

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

The 15 songs here chart a typical course through the American songbook, with paradoxically straight-faced camp, morose show tunes and orchestral chamber pop without the aid of an actual orchestra. [Apr 2012, p.96]

Though their sometimes generic juddering occasionally dulls the impact, it's still clear the Color Morale are trying to be more than just "another one of those bands." [Apr 2013, p.88]

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]

Today, yet another album filled with introverted hip-hop instrumentals--even one with occasional moments of beauty radiating from the murk--is doomed by comparison to the more innovative work the label has been offering lately. [Mar 2006, p.138]

It's rad that Finch are back together sounding sharp, but the creative differences that led to this album being nearly a decade in the making remain apparent. [Oct 2014, p.100]

Sounds rather pedestrian. [Jan 2006, p.142]

The least pretentious--and most accessible--thing AYWKUBTTOD have ever released. That's probably because it sounds a lot like your record collection. [Feb 2005, p.92]

This restless, rootless disc suggests Cex hasn't settled on his future destination just yet. [Aug 2006, p.222]

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]

Teetering between genius and madness, Repo is a few hooks shjort of a successful fishing trip for experiemental music, left mostly with "experiemental" and not much in the way of traditionally defined "music." [Jun 2009, p.102]

While it's enjoyable for what it is, you can't help but wonder where all the songs went when after an half-hour or so, you recall literally nothing. [Oct 2012, p.92]

A dispirited, half-baked record. [Jun 2007, p.156]

When the twins harmonize, the results are sweeter than sugar-dipped honeysuckle. What they really need, though, is some fire in their bellies. [July 2008, p.151]

There’s passion cooked into each Antemasque song, but it is curiously unmoving.

Even Westerberg knows that he can do better. [Jan 2004, p.108]

Much of Dust is nearly indistinguishable from the British trip hop Muggs' tripped-out productions helped inspire. [Apr 2003, p.82]

Gone are the Mary Poppins samples and the rest of the duo's anything-goes ethos; Breakfast is filled instead with Cap'n Crunch-y nuggets of pure, sweet, mainstream hip-hop. [Mar 2012, p.97]

While there are moments of buzzing, high-flying bliss on Githead's third LP, one can't escape the sensation of horizon-hugging deja vu. [Jan 2010, p.94]

An album full of songs so lethargic, it sounds like it needs a nap halfway through. [Apr 2002, p.71]