Breezy, flashy, and fun, but emotionally bereft as well. [Jul 2002, p.81]

At times, the disc trades solid shoegazing for a slip into blase modern rock, with songs that beg for broadcast next to STP and Third Eye Blind; ultimately, however, Gwenmars' recasting of the dark British sounds that lent depth to sunny American movies is intense and compelling. [#153, p.75]

Too many songs rely on sappy love-song cliches, bland arrangements or saccharine lyrics. [Mar 2007, p.135]

The group's fourth outing supports singer Joel Pott's super-earnest reflections with melodies and arrangements direct and sturdy enough to bear the emotional weight. [Feb 2009, p.92]

As eleventh albums go, Siren Charms is a more than respectable collection. [Oct 2014, p.98]

Monochrome is marred by Hamilton's vocals. [Sep 2006, p.218]

Until Reptar develop their own voice, they have to keep making up for their derivative music with enthusiasm. [Jun 2012, p.82]

The good: Tyler Carter and Luke Holland's performance one-ups YouTube tryhards on Paramore's "Ain't No fun"; Set It Off are naturals at this whole "pop" thing, nailing Adriana Grande's "Problem".... The bad: August Burns Red's cover of Miley Cyrus' "Wrecking Ball" tries to make a pp song pissed--it's dated on arrival.... The just plain ridiculous: Upon A Burning Body ft. Ice T covering "Turn Down For What?" [Dec 2014, p.107]

My Damnation is destined to become another album absorbed by the sonic wallpaper of bands copying a similar, well-worn blueprint. [Aug 2011, p.112]

For a bunch of comedians, the Electric Six sure are talented musicians. [Dec 2006, p.189]

Dark Touches has its catchy moments, but sticking a song in the listener's head is not the same thing as creating important music. [Nov 2009, p.109]

Often feels like the soundtrack for a party that's running short on ideas. [Oct 2004, p.132]

This is an album aimed at minivan-driving moms who saw Incubus live a decade ago, but the boneheaded lyrical cliches and nap-inducing arrangements are likely to bore even them. [Aug 2011, p.114]

Though Sublime With Rome's debut LP is a promising collection of summer songs, under the carefully fabricated surface, it's hollow.

Amount[s] to little more than a facsimile of their forefathers. [Nov 2004, p.149]

While we believe that Sum 41 have the potential to succeed without the aid of power chords, the fact that only a handful of the musical ideas on the album are fully developed makes for a frustrating listening experience.

Doo-wop-inspired harmonies lend a barbershop charm to the Chicago quintet's earnest and energetic pop-punk sound, though the retro styling of World occasionally comes off as more tired than inspired.

On the whole, the songs are more tuneful and airy and less spastic than previous riot-on-the-stage efforts. [Mar 2007, p.143]

The band's anti-everything style can get annoying if you don't have the patience for heavy doses of idiosyncrasy in your rock. [Jul 2006, p.204]

Peter Gabriel's "Solsbury Hill" loosens up into a glittery anthem, while the Righteous Brothers' "You've Lost That Lovin' Feeling" should have stayed a karaoke favorite. [March 2003, p.94]

While the band's heritage has been hanging on by a thread for decades, The Devil's Rain is but an undercharged defibrillator to its decomposing corpse.

The absence of Paul Leary's drug-fried guitar is unconscionable. [Nov 2001, p.78]

It must have been much more fun to record all of these tracks than it is to listen to them.

Good Charlotte have become caricatures of themselves. [Apr 2007, p.175]

Occasionally get[s] a tad too close to Jamiroquai territory. [Nov 2005, p.226]

Seems like a tarted-up version of 1986's Raising Hell.... This is for diehard fans only. [#154, p.87]

Lee's cutesy folk and piano pop leaves us cold. [Mar 2009, p.106]

[A] slickly produced holding pattern. [Jul 2003, p.122]