It's uncomplicated, catchy fun, the equivalent of 21st-century hair metal-and that's meant as a compliment.

An admirable effort, yet this feels like Gang Of Four taking six steps backwards into obscurity. [Mar 2015, p.93]

The wicked dueling guitars of Dan Jacobs and Travis Miguel are about the only saving grace, but even the wildest arpeggio run can't save Congregation from near-total damnation. [Dec 2009, p.116]

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

A bit flat. [Jan 2007, p.131]

What could have been a second coming of Stone Roses or even a newer New Order comes off like one big Spiritualized remix, light on the hooks, numbed by its own beats. [Apr 2002, p.82]

The mood, talent, and energy are present, but the lack of lyrics is off-putting and relegates the band's seventh proper LP to B-team status. [Feb 2009, p.103]

It feels like the afterthought it most likely was. [Oct 2002, p.77]

The Postelles flash moments of this talent, but often come off as a pedestrian version of a banal sound.

While the positive vibe is admirable, there's just not much substantial to grab on to--and few songs linger after the album's over.

Most of Maritime's debut feels incredibly boxed in. [Aug 2004, p.106]

A novel idea that falls flat due to poor execution. [Dec 2004, p.162]

Clogging their previously supple grooves with banal guitar bluster and noxious singing, VHS Or Beta don't set the Night On Fire; they just dampen your spirits. [Oct 2004, p.148]

With a handful of vibrant songs that match either a late-night lounge vibe, or elevate their retro-country game, the album's only major flaw is forcing too many drastic costume changes on their angelic voices. [Mar 2010, p.98]

They haven't lost any of their quirky cool mojo. [Nov 2001, p.97]

Uninspired goofiness... [#154, p.98]

Bianchi's hackneyed lyrics... often overshadow the music's subtle pleasures. [Oct 2005, p.170]

Temper Temper probably sounds great played in an arena. But on the stereo, it just isn't enough. [Mar 2013, p.90]

Album, boring. [Dec 2004, p.150]

Unfortunately, as with many Verve albums, Bar's dreamy tempos and strung-out riffs, while fragile and beautiful, start to fade into a middling mess of sameness around the middle of the disc. [March 2003, p.98]

Taken alone, these six tracks are fascinating enough from a conceptual standpoint, and listening to a band audibly restraining themselves is quite scintillating. But it's hard to shake the feeling that these pieces would likely have a significantly greater impact when connected with the entire Testimony performance.

Like a football running back, it's when the band put their heads down and sprint straight ahead that they score. [mar 2009, p.113]

The hooks aren't quite as memorable as last time, and Elvis Baskette's production at times make the band sound like faceless radio rock--but the disc ultimately might soon find TFT making good on their arena-rock aspirations. [Jul 2011, p.112]

The majority of the album sounds like generic radio rock. [Jul 2012, p.98]

Trinity is almost perversely uninvolving on first listen. [Sep 2002, p.90]

[Travis Morrison's] earworm melodies and piquant lyrical outlook are Uncanney's only source of nutrients. The rest are empty calories. [Nov 2013, p.94]

Poison excels at using retro flourishes without drowning in nostalgia or irony, and it never forgets the future is brightest. [Jan 2009, p.130]

Decas is not exactly coherent listening experience. Still, it's a worthy addition to the band's weighty catalog. [Dec 2011, p.118]