Secret Machines is a bit of a misstep, failing keep their languid, explorative tracks from growing dull. [Dec 2008, p.148]

While Twelve's not an unlistenable record by any stretch of the imagination, it just begs the question: What's the point? [Jun 2007, p.158]

On The Constant, SOTY have shown they've mastered their current sound. Here's hoping for a little more experimentation next time. [Mar 2010, p.95]

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

Even if Oxeneers doesn't move you, it'll surely floor you. [Dec 2004, p.157]

It all boils down to the simple question of which songs grab you, so there are certainly reasons to give Appeal a whirl and decide for yourself. [Nov 2008, p.151]

dios (malos) is missing something--namely, guitarist Kevin Morales. [Dec 2005, p.212]

What used to feel timeless now just feels tired. [Jun 2004, p.107]

The album's middle drags, and as original as they sound on their own, the songs become monotonous by the album's end. [Mar 2004, p.96]

Tortoise sound remarkably un-Tortoise-like on nearly everything... [and] Oldham's stunning vocals are rarely allowed the space they deserve. [Mar 2006, p.126]

Banks is a dense (and sometimes prickly) listen that's not immediately accessible, although it rewards those who give it time. [Nov 2012, p.86]

Much of the album is comprised of moiody, softly undulating numbers whose beauty is offset by a frictioness drift which prevents them from truly taking hold. [Dec 2009, p.108]

The main frustration with Meyrin Fields is that neither artist seems hindered individually, only lost to elevate his respective partner in a meaningful way.

It still feels like they have a bit more work to do before their albums are consistently exciting from start to finish. [Nov 2009, p.109]

The songs themselves are sturdy and powerful, with the right mix of ebb and flow, and ample chug-chug parts for the pit monkeys.

My Shame Is True winds up feeling like white noise more than anything else. [May 2013, p.84]

If the album has a flaw, it's a lack of structure and differentiation; as the music progresses, songs become less distinct and less compelling. [Mar 2015, p.90]

It won’t satisfy the appetite of fans of the band that are salivating over the thought of a brand new album with Lindberg’s patented shout-sing back and leading the charge. But as a stopgap and look back at the band’s early years, Yesterdays is a rowdy Pennywise romp.

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

Although a bit more of that energy [on tracks like "Your Head Got Misplaced" and "Sick And Impatient"] would've been welcome, Youth is still a lush, inventive listen great for headphones--just not stage-diving.[Jul 2013, p.96]

One-dimensional and full of tired tunes. [Sep 2002, p.81]

It's nice Walla's doing his own thing, but it's also clear from Field Manual that in terms of his main band, credit has always been given where credit was due. [Mar 2008, p.141]

With a deeper, more mature sound, Halfway sounds like the work of a producer in mid-career crisis making music inspired by the dancefloor, but not shackled to it. [12/2000, p.89]

There's always been a heavier influence in the band's music, but on Arrows & Anchors, their ambitious desires to step outside the genre box often get bogged down in a sea of down-tuned guitar and maudlin lyrics.

While their weird is very often wonderful, these 10 tracks are somewhat inconsistent. [Oct 2014, p.98]

While all the riffs and parts are brillantly performed, they rarely if ever repeat one, and none stick in your head after the band is gone. [Dec 2009, p.108]

[Often the album] leads to pleasant but forgettable songs, leaning toward Britpop.

There are hints of something fresh on There's Nothing Wrong With Me. [Dec 2014, p.106]