The anthems still have Morrissey and Marr in their DNA, but they pout more than they roar. [Sep 2014, p.108]

Like vintage B&S, this Glasgow group's sound ranges from full-blown orchestration to tunes on which a lot of musicians make very little noise. [Mar 2004, p.94]

For Matchbook Romance, Voices is adventurous. [Mar 2006, p.122]

On paper the choice of Jon Brion, a musician and engineer best known for his work in film seemed perfect, but unfortunately it didn't temper Barnes' misguided vision to be the indie-rock Prince. [Oct 2010, p.116]

An ambitious record that pays skillful tribute to teachers like Pink Floyd, but shows off its ambition too much. [Nov 2001, p.94]

If you read The Wire, you probably already own [Kesto], but if you don't, don't bother. [Jul 2004, p.148]

Takes a step back to the crossroads of the accessible and the head-scratchable. [Oct 2004, p.148]

The Montreal group's full-length debut, Some Are Lakes, frustratingly lacks that energy, as well as "Boo's" memorable afterglow. [Nov 2008, p.155]

brakesbrakesbrakes are as eclectic (musically) and clever (lyrically) as ever on their third album. [June 2009, p.98]

Gimme Some is grounded in a guitar-based directness it seemed PB&J had left behind. [Apr 2011, p.118]

IWABO prove there's some actual technique beneath their gimmickry. [Aug 2011, p.118]

Mountaintops is still well-crafted (if overwrought), but lacks the punch that'll make you sit up and take notice. [Oct 2011, p.109]

It means "Everything You Think You Know," "Smoking Kills," and "Day Man," while not bad, do feel slightly generic, which unfortunately diminishes the power of these well-intentioned, heart pounding songs. [Oct 2014, p.98]

For anyone familiar with these progenitors of glam punk, 'Cause I Sez So won't surprise. [Jul 2009, p.130]

Overall, the songs are well-written and daring. Some tracks are more successful than others (”Where Did It Go?” and “Vultures” are standouts), but it is an altogether engaging listen.

This heart-cleansing vulnerability renders much of Final Straw's latter half monotonous. [May 2004, p.96]

You'd be hard pressed to find a more confessional album released this year. [Dec 2003, p.142]

Longtime Black Lips fans will notice a more polished production compared to past albums, but it also seems apparent that these boys have barely begun to scratch the surface when it comes to showing us what they've made of. [Nov 2007, p.170]

Ultimately unremarkable. [Jul 2004, p.134]

Mostly stuck in a low gear. [Dec 2003, p.156]

While Personality is all masterful and ambitious, nothing really sticks in the end. [Sep 2006, p.232]

It's surprisingly how generally lukewarm the music is on Newman's sophomore effort, Get Guilty. [Feb 2009, p.103]

What sounds like leftovers from Miller's last solo effort and bizarre surf-rock-inspired numbers rear their ugly heads, leaving these Lone Star Staters in jeopardy of repeating the grade. [July 2008, p.158]

The feeling isn't sucked out yet, but the focus is. [Sep 2002, p.92]

Has an infectious energy that keeps things from growing stale. [May 2002, p.84]

It's a clear sequel that continues the character profiles and storylines frontman Rhett Miller created last time around. [Aug 2011, p.118]

Not as memorable as Tarwater's peers like The Notwist. [May 2005, p.138]

It's a decent disc that'll simultaneously satisfy your cravings for pop music and the avant-garde. [Dec 2008, p.153]