When Red Bedroom ditches the choppy guitar riffs... the results are as much of a buzzkill to Bedroom's jumpin' vibe as cops busting up a raging house party. [Aug 2004, p.116]

They’re ultimately relatable and endearing enough, even though the most jaded of listeners will still roll their eyes at the smarmy nostalgia (“Too Young To Feel This Old”) and new-era YOLO sentimentality.

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

At times, the album gets a little precious, but the more inspired moments are truly undeniable. [Jun 2007, p.156]

Even if Banks sticks to the "I've got two secrets but I only told you one" songwriting approach, hopefully a band shakeup will spark the soulfulness only occasionally heard in his contributions. [Oct 2010, p.118]

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

Phantom Planet are shooting for something a bit less sunny here than their last outing. [Mar 2004, p.106]

How many times can rock return in one year? [Jul 2003, p.122]

Idlewild undeniably sound like a once-great band helplessly slipping into their confusing middle years. [Sep 2005, p.164]

'Always Do' is the pinnacle of this record's minimal momentum; it's a leisurely stroll past the mediocrity of te album's second half (with the exception of the bluesy cadence 'Hair Don't Grow'). [Nov 2008, p.151]

Much of the material begs for memorable melodies, perhaps a bit of a rave-up or divergent musical moment would have helped. [Jun 2009, p.103]

Octahedron will appeal to elderly prog fans immune to attention deficit disorder, who have the patience to let its charm gradually unfold. [Aug 2009, p.111]

There's nothing that leaps out as brilliant, just like there's not a single example of the band trying something genuinely risky and new, and falling on their collective face.

Though fast and dynamic, it's just not exciting in the way it should be, and it's impossible to shake the feeling that something is missing. [Jul 2013, p.96]

It's not bad, but it is slightly disappointing. [Jul 2013, p.102]

At their best, the churning rhythms, swirling synth and vocals suggest Animal Collective digging through a crate of DFA Records. [Mar 2014, p.94]

These four songs fulfill expectations for minimalist, rhythm-based deconstructions of genre. [Feb 2010, p.93]

Makes you scratch your head as much as nod it. [Dec 2004, p.162]

It's a bit unfortunate that the Irishmen decided to keep their songwriting and musical prowess stagnant. [Mar 2007, p.143]

They weave simple, childlike melodies that slowly grow into full-blown opuses.... A surprisingly innovative album that sees them swimming forward instead of treading water. [#153, p.76]

Educational and motivational. [Jul 2003, p.126]

Every band represented on For The Lions are hardcore legends, and Hatebreed do their songs justice--they just don''t deliver anything in the way of innovation. [Jun 2009, p.104]

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]

If Love Drunk's overall enthusiasm and high-energy pop doesn't win over even the snarkiest of reviewers after a few listens, then they probably don't have a heart. Everyone else will love it anyway. Pop-rock like this is popular for a reason.

Occasional missteps keep X.O. Experience from being a bottle of the top-drawer stuff, though it'll still leave you with a good buzz. [Aug 2001, p.91]

It lacks the spark of the band's classic catalog material. [Apr 2007, p.191]

They play things way too safe... which makes for a rather boring listening experience. [Mar 2007, p.142]

Boasts a sort of steady, creeping beauty, like a slower, groggier Failure without the loud arena bombast. [Nov 2001, p.97]